Dan Jolin

Not the return to form you might have been hoping for. Its story might cover all the same beats as the 2003 original, but there’s little of that film’s spark or spirit.

Director Alan Taylor handles the big action adeptly as he did in Thor The Dark World, but the script is an ever-decreasing cycle of tool-ups, chase sequences and daft monologues.

To be fair, pulling off complex action sequences in such unforgivingly high definition is a ballsy move—it’s much harder to hide the joins between what was captured in camera and what was added later. But as impressive as the action is—and a Smith-vs.-Smith motorcycle chase in Colombia is a superb sequence worthy of peak Bond—the high-definition format just doesn’t work.

Exactly what you’d expect from a crime-caper action-comedy pairing Dwayne Johnson and Ryan Reynolds. Nothing more, nothing less.

Fans of Moon and Source Code be warned: Mute is sadly, almost tragically, not worth the wait.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Stupid, with three o's. But also fun, never boring, and never insulting (to anyone other than Dumas) - unlike certain of the summer's A-pics…

Belying its title, this is a pretty flaccid offering which fails to gel the comedy stylings of Hart and Ferrell.

Unless you pine for second-tier Mel Brooks, you'll find more laughs in the Old Testament itself.

An odd but frothily entertaining genre cocktail, which coasts on the charisma of its two biggest names and keeps things just fun enough to forgive its considerable lapses in narrative.

As spectacular as you’d hope from a sequel to the 1996 planet-toaster, and as amusingly cheesy. You’ll enjoy yourself enough that you won’t even miss Will Smith.

Bond without the style and Team America without the bellylaughs. The moronic script and nonsensical plot are good for a snicker, though.

Like Guy Ritchie’s King Arthur, this tries hard to do something new and exciting with an old formula. It quickly makes you wish for something more traditional and straightforward.

A twist-burdened techno-thriller that would be by-the-numbers if it could count.

Who Framed Roger Rabbit meets Meets The Feebles, in a disappointing adult comedy that never lives up to the promise of its premise.

A botched Guardians wannabe that isn’t half as fun as you’d hope from the punky sci-fi promise of its video-game source material and the presence of Blanchett at the top of the cast list.

Less Tales Of The Unexpected, more Tales Of The Unconvincing, this uneven comedy horror fails to handle its ambitious structure, or deliver on its promising premise.