Helen O'Hara

Big, dumb and only mostly fun, this doesn’t always find the right tone to marry action and charm, but Johnson’s remote and ruthless superhero is a welcome change from the norm.

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.

Strong performances keep the viewer guessing as much as our heroine, but the character drama recedes as the thriller element builds, to its detriment.

A tired retread of better jokes in the first two movies, this drags along to an admittedly heartwarming conclusion. But it’s a good thing this caps the trilogy because it’s coasting on fumes.

The chases, fights and fun bits of spy craft are brightly and pacily shot, but the 'twists' are barely surprising. These women, and these characters, deserve more.

As sweet as a sugar plum and only slightly more nutritious, this shows scars from a tumultuous road to the screen but still emerges as a whimsical, likeable fairy tale.

It’s occasionally funny, but the moments of sincerity are undermined by the unformed sense of grievance and bitterness at the whole wide world.

"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.

Deeply misconceived and steadily unfunny, this feels longer than its running time. A few moments of emotional honesty between mothers are the only bits worth watching, but they're too scant to save this mess.

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.

Lopez throws everything at this, but even major movie-star charisma can’t make up for the recycled story elements, tired exposition and endless psycho-babble. Maybe the machines can take over and do better.

If even a tenth of the care and attention lavished on the production design and action sequences had been afforded the script, this could have been an adventure of legendary proportions. As it is, this fizzles whenever anyone opens their mouths.

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.

Loud, silly and tired. Aside from an almost-fun Jackie Chan cameo, this is enough to give anyone a severe nut allergy.

As action-packed as a holiday nap on a hot afternoon, this is a must-see only for Portakalos die-hards. Still, Vardalos’ sheer affection for the characters means it has a warmth that sustains it through weak jokes.

A defanged variation on the theme that doesn't commit hard enough to be silly fun, beyond a few chuckles.

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

It’s well-intentioned and manages some nicely judged messaging by the end, but Harold’s mugging and his animal companions’ antics aren’t nearly as cute as the film thinks they are.

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

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.

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.

Like "Ghost Rider: Low Voltage," this is a surprisingly underpowered excursion into Marvel's mad world by Neveldine and Taylor. More purgatory than hellfire.

There’s a little bit of heart here, in the story of two people who have lost faith in Christmas for very different reasons, but more often this feels engineered in a lab to provide seasonal spectacle.

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.

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.

Creepy rather than scary, and more a ghost story than a monster movie, this has a good heart but feels a little toothless for something with so many killer robots.

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

Apparently unable to decide whether to take its own mythology seriously or not, this is a mess of sculpted cheekbones and incoherent romance.