Jamie Graham

Fans, naturally, might simply want what they came for, and leave licking wounds. But they should be partially sated by some grisly kills and nods to Carpenter classics Christine and The Thing. And besides, let’s not fool ourselves that it really ends here. Friday the 13th: The Final Chapter was followed a year later by Friday the 13th: A New Beginning.

Don’t be put off by the long wait. This is a little slimline but a lot of fun.

By the beard of Zeus! Brett Ratner delivers fast, fun thrills to score a sound victory over Renny Harlin’s laborious The Legend Of Hercules.

The scuzz-chic visuals, sleaze-synth score and deep-cutting gore are effective, and shooting from the killer’s POV proves a valid USP. But Wood, despite giving his all, cannot match Joe Spinell’s unhinged turn in the original: nightmares in a damaged brain indeed.

A grindhouse mix of "Wild Things," "Killer Joe" and "Streetcar Named Desire," The Paperboy won’t be for all. But it boasts a soupy atmosphere and Kidman’s best turn for years.

The Crooked Man is at its best in a flavoursome first half that serves up crepuscular, shallow-focus photography (take a bow, DoP Ivan Vatsov) and backwoods dialect as tangy and prickly as wild gooseberries.

Marking Harlin’s trumpeted return to a genre in which he established himself as something of a journeyman (A Nightmare on Elm Street 4: The Dream Master, Exorcist: The Beginning), The Strangers: Chapter 1 makes decent use of its contained setting – the house itself, to wheel out the cliché, is its own character – but can’t cut through the sense of fatigue.

A murky mishmash of a movie, with the lightest smattering of glorious moments.

This is a tonal misfire, its characters cut down by a blitzkrieg of whip pans, CGI and thunderous percussion. And with Ritchie again rummaging in his increasingly threadbare bag of tricks, the result is a movie more jaundiced than jaunty.

Frustratingly, [Marcel's] movie maintains the issues of the first two films – ropey effects, muddy night-time action scenes, a determination to be family friendly at all times – and then undoes any goodwill its more successful components have inspired by including a mid-credits sting that renders the previous 109 minutes obsolete.

While some viewers may want more explosions and twists, there's no denying Michael B. Jordan makes for a riveting action hero in Without Remorse

As in director Alexandre Aja’s Horns, the action alternates reality/fantasy to middling effect.

Starts off flavourful, turns rather bland. This Injustice League jaunt proves that DC is still a long way behind Marvel for on-screen action.

Fans will find just enough heart-swelling moments involving friendships and family to enjoy one last group hug.

Come for the technical innovations, stay for… hmm. Two Will Smiths for the price of one just ain’t worth it.

The requisite training montage is half-decent, and the split-screen end credits replay Van Damme’s infamous dancing in the original, with Moussi mirroring his every bad move.

The action’s routine (as is the norm for this sub-genre) and the spy plot skimps on mystery and twists. But Bautista and Coleman maintain their winning rapport from the first film, and Schaal’s inappropriate comments never fail to amuse. It’s just about enough.

Fun enough, but not the lightning-bolt-to-the-heart update we hoped for. For a far superior update of the Frankenstein myth, read Stephen King’s Revival.

Fleischer made a better comedy-horror with Zombieland, but Venom’s a decent buddy actioner. You might even laugh your head off.

The Expendables 3 marks a sizeable improvement on the first two outings.

The fast and furious action is a bit plasticky, but the two starry leads bring some real sparks.

Too long and with too many characters to get through, Mother's Day holds effective sequences, ramming home its (recycled) message: the animal lurks in us all.

While there’s little here to jangle the nerves, The Mummy does wrap up enough adventure, action and quips to make it, if not a scream, a worthwhile Friday night out.

After pretty much inventing the modern-day comedy drama, Judd Apatow here gets frivolous, to patchy effect.

This might have been titled ‘Independence Day: Submergence’. It’s certainly hard not to drown in the sea of CGI, with the exponential increase of pixels being to Independence Day what the Star Wars prequels were to the original trilogy.