Helen O'Hara

Objectively ridiculous but mostly fun, this is better than you could have predicted given the title but squarely aimed at a young and undiscerning audience.

While there are fun moments, the whole is an odd mix of grotesquerie and cutesiness.

This is just as unevenly plotted as the original, lacks even the element of surprise, and is not by any reasonable standard “good”. Between gooey and ghoulish, there must be better options.

It’s uneven and doesn’t quite hit the right balance between yuks and yuck, but the charisma of the two stars – particularly Nanjiani – carries it along. A shame to waste Uwais on such a limited role, though.

The setting is glorious and Dormer is on form, but the scares can’t match either.

Credit goes only to its two stars that this is watchable, because the film is a derivative hodge-podge unworthy of their charisma. Just rewatch The Mummy and cut out the middle man.

Union is committed and convincing, but the script apparently never met a cliche it didn't want to adopt wholesale. This offers some thrills and considerable pace, but never enough narrative force.

With a cast this talented there will always be decent moments, but they never cohere. Credit for its casting and design, but it’s not the movie messiah, just a very disappointing mess.

"The Notebook" may have had us blubbing but since then Nicholas Sparks adaptions have offered thin pickings for cinemagoers. For all Efron's boyish charms, this one could be the most ordinary of the lot.

If you’re going to take a hugely familiar premise and rely on easy star chemistry to sell it, you really need the right stars in the right roles and a killer script for all the killing. Sadly this ain’t quite it.

Both heavy-handed and ham-fisted, this is a self-important morality tale where you can see everyone's uppance coming long before it arrives.

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

These bosses cannot justify either murder or lasting comic memories, fatally compromising a farce that could have been great but ends up merely mediocre.

We know that this cast can produce magic together, and that this director can inject pace into unlikely topics. It’s just this one that seems to have feet of clay.

It’s annoying and one-note and so relentless in its cheeriness that it eventually comes to seem almost likeable. At least there are great voice performances underneath all the felt and pop mash-ups.

An awkward mix of realist social drama and Statham actioner, this doesn’t quite convince as either.

There are a few genuine surprises as this goes, but many more predictable twists. When the film engages with the real World War I, it feels pat, a ‘1066 and All That’ trip through the ‘best bits’ of history

Even by the standards of animation, the logic fails here are impressive. But the bigger problem is the lack of charm, focus and original storytelling as the animals suddenly have to save the world instead of just surviving it.

An animation that never drags itself out of mediocrity despite the best efforts of gifted animator Tartakovsky.

Two charming leads don't make up for a comedy that just doesn't quite deliver the laughs it should.

It's just not quite as much fun as it should be, despite Pearce's best efforts and some good chemistry with Grace. Unusually for an action thriller, this could have benefited from being just a little longer.

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.

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.

An awkward mix of gross-out comedy and big emotional sincerity, which may be authentic to the experience of pregnancy but feels clumsily balanced between these two characters.

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.

Elba is genuinely great as the tormented Roland, but the film does its best to suffocate him under a mountain of plot-heavy nonsense. Disappointing.

This sequel brings everything back to the original film – even recycling some of the same jokes. But they’re a pale echo of its greatness in an overly stuffed and only occasionally fun spectral adventure.

An overqualified adult cast and some fun moments can’t entirely compensate for a defanged protagonist and too-static plot. This fantasy desperately needed a little more magic.