Helen O'Hara

It's fine for an epic to sprawl, but you want a sense of purpose at the same time, and this one sometimes loses its way. Still, it’s handsomely shot and well performed, a throwback to the glory days of event-movie horse operas.

Smart, tough and a little bit cool, this is an intriguing opening rather than a slam-dunk in its own right, but the cast - and especially Woodley - make it sufficiently diverting to merit a place in the action franchise ranks.

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’s not the fault of either star, but the half-baked script makes this an unsatisfyingly thin exploration of the weighty themes it seeks to cover. More intellectual cut-and-thrust and fewer flashbacks would have helped.

Pugh is superb, while Wilde confidently steps up to a bigger subject and budget to deliver a slick, beautiful film. It doesn’t quite stick the landing, but its flight to that point is fascinating.

It’s well designed and shot, but in service of a story that never coalesces into something intelligent or compelling.

The film’s final moments mix compassion and vengeance to create something genuinely surprising, and if Cronin ultimately pulls a few punches in his body count, chances are you’ll be too traumatised by all the gore to notice.

A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal.

The film’s glowing, golden cinematography suggests a far warmer story than it in fact delivers, but Winslet’s stunning turn is worth a look if you can stand the consciously stagey feel.

It won't do anything to win over those not already partial to Tarsem's style, but it has more than enough blood, guts and glamour to satisfy – and Cavill looks like a superman.

This is silly and sentimental, but it’s also basically well-meaning and inoffensive. Best watched after quite a few grappas, or with your sprightly grandmother.

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.

There still hasn’t been a truly great film based directly on a video game, and the characterisations here are more likely to annoy than delight the hardcore fans, but the jetsetting and sunshine here is a welcome break from more serious action movies, and Holland will just about hold the interest.

The acting's better than it's ever been, but with the best will in the world, this can't get past the fact that the story's demented.

Franchise fans will enjoy seeing the Lamberts again, but newcomers will be baffled by the under-developed story and nonplussed by the over-familiar scares.

The inconsistencies in tone - is it an Anchorman-style farce or something more serious? - distract from likeable turns from the leads.

It may occasionally shock a laugh from you, but between those moments your face will be a rictus of horror.

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

It rips a few too many pages from familiar playbooks, but when it indulges in its own weirdness this film casts off those heavy caterpillar tracks and soars.

An improvement on the first film, in the end, and an encouraging rallying cry against fear and intolerance, but it’s still far too busy and baroque to match its leading lady’s elegance.

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

Perhaps no more absurd than the Verhoeven version, but certainly less amusing. Farrell and Beckinsale emerge unscathed, but the endless scrabbling for novelty and reinvention leaves this feeling unaccountably stale and familiar.

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.

Once you swallow the giant pill that is the premise, it just about makes sense, and Woodley sells it with all her conviction.

It’s not the worst of the trilogy, but this is less for fans of thrillers and more for people who are pining after last year’s holiday to Florence.

Pacy and punchy, this is a promising first official outing for the new Captain America, even if some awkward and inconsistent moments hold it back from greatness.

Maybe art does demand something profound of us all, but here the big, interesting ideas have been chipped away in favour of subpar scares, leaving this film’s own cult appeal looking rather limited.

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.