James Mottram

It’s a smart gen-gap tale with loveable characters.

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

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

The pacing is spot-on, the set-pieces memorable and all the characters are allowed to shine, without it ever becoming The Johnny Depp Show.

Like an inoffensive light ale, the result slips down more pleasantly than you might expect.

Fresh cast, fresh ideas and full-on action gives Taylor’s reboot momentum, even if an overloaded script threatens to topple it at times. Doesn’t touch Cameron’s two movies, of course.

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.

Leaner, meaner, and far superior to 2010's Clash cock-up. From top-grade 3D to a multitude of monsters and a welcome influx of acting talent, this is pure popcorn pleasure.

It’s no "Drive," and even hardcore fans will struggle to love a film that’s as mad as a bag of prawn crackers, but as an exercise in style, it has many moments to savour.

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.

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.

Valiant, but flawed. Some of the set-pieces are superb, but there isn’t enough meat on the bones to turn this into a classic.

Gormican’s script is the film’s big strength; the dialogue fizzes while the set-pieces pay off handsomely.

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

With a wraparound narrative that never really strikes a balance between past and present, all that axe-flinging, ice-casting action makes a modest impact.

More Blue Steel than Magnum, this is a perfectly serviceable sequel, but dogged by repetition, it lacks the original's speed and sizzle.

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 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

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

The sticking point for some will be the bone-crunching violence, of which there’s A LOT. But if you can stomach that, then this ticks that dumb-fun summer-movie box nicely.

Mostly, this is empty, ugly and pretentious.

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.

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

All hot wheels and dick jokes, it’s fun but forgettable.

LaBeouf is committed, and it’s fun seeing him go toe-to-toe with Gary Oldman (as his boss). But amid Montiel’s jigsaw-like structure lurk some generic revelations. Disappointing.

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.

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.

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

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.

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.

Depending on taste, you’ll be left either barfing or laughing.

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