James Mottram

Ponderous, pretentious and, most damning of all, just not much fun.

Most of the gags fall flatter than a Knoxville belly-flop.

For the most part returning director Simon McQuoid does little to turn this into anything but a serviceable follow-up to a film that feels outdated and outdone by much better recent video game adaptations.

Devised by Brutalist composer Daniel Blumberg, the songs are spirited, and Mamma Mia! star Seyfried invests fully. But with characters often reduced to making declamatory statements, it becomes an increasingly vexing exercise.

Mostly, this is empty, ugly and pretentious.

True, Hendricks has fun with her role as a good girl with a bad streak, while Shauna Cross and Johnny Rosenthal’s script fires off a few zingers. But with Thornton surprisingly disengaged and the robbery plot formulaic, it’s a limp dick of a sequel.

There’s still a thrill seeing Stallone dig out a classic character for one last rumble, but this is formulaic action fare.

Disappointingly limp, with precious few belly laughs, despite a try-hard attitude.

The result? Not so much "World War Z" as World War Zzzz.

The cast is given a boost by the star power of Vanessa Hudgens, Alexander Ludwig and Paolo Núñez all reprising their roles as members of AMMO (Advanced Miami Metro Operations), plus Better Call Saul’s Rhea Seehorn joining as the ballsy US Marshall daughter of the accused Captain Howard. It’s just a shame they’re all woefully underused in a story that feels so same-old-same-old.

A genuine disappointment, given the talent involved, and a rare misstep for Penn, who can’t save this moribund vanity project from flatlining.

A few fights enliven proceedings, including one on a road lined with cherry blossom trees. But this is largely dull and disappointing.

The odd spirited turn aside, this is a throwback to the bad old ’90s days of comic-book movies.

Luchini’s excellent, but this is guilty of gross tonal uncertainty.

It’s just a shame the formulaic story feels about as paper-thin as you might expect from an adaptation of a ladders-and-levels video game. As is so common in these Hollywood animations, the ‘family is forever’ theme looms large, but never once feels sincere or authentic.

But for the most part it’s Neanderthal compared to the Pixar stable.

A generic cop thriller that rumbles along thanks to a quality cast but ultimately offers nothing fresh.

You'd think Greta Gerwig's bones were hurting, so achingly hip is this irritating New York indie.

At least Scream star Matthew Lillard brings some creepiness into his little screen time. Otherwise, Five Nights At Freddy’s is moribund.

A few lowbrow laughs… but far too many one-note characters, performances, and plot points to make them worth showing up for.

With the story lacking real jeopardy, the feeling this leaves isn’t quite fury, but it’s certainly apathy.

A nifty lift-off and a tense first hour lead us, disappointingly, to a very bumpy landing. While Neeson and co. do their best, the script just doesn’t deliver where it really matters.

As ever, Cronenberg leaves you with much to chew on, but dramatically The Shrouds feels rather inert, as if it can’t get out of second gear

Largely gung-ho nonsense, but it’s always a pleasure to see J.K. Simmons in ball-busting mode, barking words like “simpletons!” at his men.

The cars are hot, the action is decent, but the characters and plot need a serious tune-up.

You won’t be able to shake the feeling that there’s a lack of heart and soul here.

But as the film lurches into the final third, there’s little emotional sustenance to keep you going. Just one yawn-worthy twist and some dud CGI. Avoid.

Jones and Oldman are on autopilot, while Costner grizzles like a sore-headed bear. Only Gal Gadot, as Reynolds’ widow, has any cred in this utter pap.

To be fair, Blood and Honey 2 is actually a notch above its predecessor, if only because the production values are (relatively) higher. But despite a watchable turn from Chambers, this is largely Neanderthal filmmaking, even with hospital janitor Simon Callow offering up a Scottish accent and a lot of pointless exposition.

Despite the odd flash of gore (this is a ‘15’ certificate, so expect minimal scares), the film’s biggest crime is that it’s utterly boring.

Sly and Statham are always watchable – not least when the latter takes a job as security for an odious social media influencer. But they can’t save this mission from going painfully pear-shaped.

True, it’s a clever loophole the director has exploited, but that’s as far as it goes. Blood And Honey is a sticky mess of a movie.

Charmless, mirthless and witless, this waste of time is another black mark on Depp’s card, while his co-stars fare little better. Even low expectations won’t help you here.

A huge misfire that even the most hardcore X-Men fans will find hard to warm to. Avoid, avoid.