Helen O'Hara

It’s a light diversion rather than a symphonic masterpiece, but it’s still pleasantly in-tune entertainment.

The moments of fan service might keep the hardcore happy, but for everyone else over the age of five it’s just a succession of loud, bright things happening without any real point.

Blood-drenched and gore-splattered, anchored by a hard-as-nails performance by Beetz, this is a thinly plotted but immensely fun horrorfest. Best watched with a strong stomach.

Its magical denizens too often look and feel like out-of-season pantomime characters, but there’s just enough heart and humour to make this enchanting.

It’s easy on the eye, and indeed the brain, but this is nowhere near as sharply written or plotted as it should be to bring these characters to life.

This starts strong but doesn’t always have the room to explore all the ideas it crams in, even with a lengthy running time. Still, Rockwell’s man-on-a-mission is a delight.

It’s beautifully designed and pleasantly quirky, with fun performances from the cast, yet the arch narrative style and structure can make the whole feel thin and unsatisfying.

It’s another spin on the usual Statham actioner, solidly performed but with a ridiculous plot and – even by the standards of the genre – a predictable outcome. Less gimme shelter, more gimme a break.

It has aspirations to be RoboCop but this feels more like autopilot. Pratt is committed and the plotting is sometimes effective, but Rebecca Ferguson’s non-Dredd-ful judge is the only good reason to watch it.

It’s relentless and exhausting for adults, but kids and die-hard SpongeBob fans may find something to love here as the consistently cheery fry cook once again out-dimwits a dastardly foe.

The plot is predictable and the look unmemorable, but Johansson has nevertheless crafted a pleasingly old-fashioned character piece with just enough bite to balance its emotion.

It loses sight of its own heroes amid the hustle and bustle of its wildly entertaining environment, but Zootropolis is still a blast to visit for a couple of hours.

Although the quips aren’t always sharp enough and the sleight of hand a little lacking, it takes a hard heart not to cheer as a few young victims of a broken system carve out their own little bit of magic.

A crime thriller with no interest in thrills and not much in crime, this is an at times frustrating character study of a guy who can’t get out of his own way.

It’s not as scary or as effective as the first film, but points for the performances, and for trying hard to do something different and fresh.

The fire scenes are terrifying and may well sear themselves into your brain, but however well-intentioned, the human element is less involving than the disaster they must endure.

There are colourful characters and cool moments to keep you entertained on the road to nowhere, but they can’t disguise the fact that this is a shaggy-dog story with no real point.

A fun blend of scares and sentiment, this largely justifies a lengthy run time with effective frights and a valedictory feel. Just don’t watch it before trying to clear out the attic.

It’s not the toothless remake we feared, and is often very funny, but there’s a slight imbalance between the Roses that blunts some of its effect.

It’s clearly made with real love and care, but shows far too much deference to its progenitor. Even in a remake, we need more originality and less playing the hits.

Some fun intergenerational warfare, clever genre nods and a generally sharp script enliven what could have been a bog-standard slasher movie.

Happily, it emerges at last with enough inventive action to stand alongside its murderous predecessors, and makes Ana de Armas into a likeable assassin hero – a phrase that makes more sense in her killer-filled world than our own.

This attempts to unite period drama and demonic possession, but feels tired and overworked on both counts.

Fleischer Camp brings a light touch and a good human cast to this reverently faithful effort, but it’s never as clear and bright as its source material.

Even the slightest wisp of critical thought will bring the house-of-cards plot tumbling down, but avoid thinking too much and it’s a frothy, sun-drenched bit of fun.

If you do pick up a penguin, you could do worse than experience Michell’s kind of spiritual and moral awakening. Still, the film is thankfully sharper and less cute than it initially appears.

It's well performed, and Collet-Serra knows his way around a beautifully timed scare, but what's most haunting is the sense that the same idea has been done better before.

A curiously bloodless account of a real-life disaster that has moments of gripping tension punctuating long stretches of fatally understated business as usual.