Jamie Neish

Astronaut is a sweet film that could have done with more fire under its belly earlier on.

Spall and Redgrave are both magnificent, rising above the material in a way only talented actors can. One wonders what they could have done with more interesting and passionate material.

Sure, Detective Pikachu is messy and predictable, but the fact that director Rob Letterman and his team embrace the inherent absurdity of the Pokémon franchise as a whole means it’s a hoot.

The script, credited to no more than three screenwriters (one of which being Vanessa Davies, who came up with the idea), is predictable and innocuous, yet peppered with comedic moments that are deserving of a chuckle or two, if only for the way they’re played by the talented cast.

The ingredients of a quality film are all here. It just could have done with being a bit shorter and a bit snappier.

Killing Ground isn't terrible. Far from it, in fact. It uses the non-linear narrative structure well to toy with the audience and create a sense of mystery around the duel arcs of the characters involved.

It's hardly original nor necessary, but it's a fun and absorbing escapade on the Seven Seas.

The Founder is a solid biopic but not one that will go down in history - unlike the multi-million dollar-making fast food chain at its core.

Boyle has made an admirable effort that captures the melancholy of being right back to where you started from. But it's not what it used to be - or what it could have been.

It's a finely made thriller that's a little bit more contemporary than other le Carré adaptations before it, and allows the central trio a chance to shine and Lewis to do some weird things with his accent and mouth as a weirdly laid back and unconcerned British agent.

Even with many of the original voice cast involved it's a tired effort that sadly - and it really is sad - doesn't live up to expectations.

The Legend of Barney Thomson has a few redeeming features scattered throughout, but for Carlyle it's much too bland and undefined.

Triple 9 becomes a victim of its own inane script. All the usual cop tropes are there - and that's part of the problem. Rarely does screenwriter Matt Cook throw anything at the page that hasn't been done better elsewhere.

Adopting a laid-back, effortlessly charming approach from the start, Moomins on the Riviera drifts through its short but sweet run time at a welcome pace.

Hotel Transylvania 2, much like its predecessor, never aims too high, so the fact that it comes as such a pleasant surprise makes it all the more entertaining.

What starts out as creepy descends into a creature feature that's more laughable than scary.

Home is funny, colourful and fast-paced.

Looped around a paper-thin narrative that makes hardly any sense, Secret of the Tomb displays signs of fatigue right from the start.

Horrible Bosses 2 is by no means an atrocity, but it's tired and unexceptional, which is perhaps worse.

The humour is scant and there's no real risk of peril (Grant George's nephew and his dastardly plans seem more psychopathic than threatening). Yet when you have a film that's colourful, easy on the eye and full of positive messages about friendship and trust, then kids will be happy.

As much as the sequel aches to remind audiences of what they liked first time round, it struggles to establish itself as its own unique entity.

Hughes' sequel fails because it makes no attempts whatsoever to rise above its predicable formula, even with the new cast additions and a promising director.

It's essentially a collection of shoddily edited action sequences, underpinned by a monotonous narrative that has no purpose, let alone moral heart to reward viewers' waning attention.