Jamie Neish

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.

Hitman: Agent 47 is tedious, soulless and, for a film with a relatively trim runtime, seemingly never-ending.

Mistress America is, despite it's wobbles and preference for humour over depth, a delightful diversion from Baumbach's typically weighty output and a star-show for the pair of performers at its centre.

An unconventional biopic that's masterfully executed and fascinating to watch.

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.

If there's a positive to be taken away from Hector and the Search for Happiness, it's that British cinema doesn't get much worse than this.

Postman Pat: The Movie is a disappointment; a modern-day reinvention of a traditional, much-loved classic that differs so far from its comfort zone that it'll have a difficult time winning audiences, let alone maintaining there attention.

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.

It's a muted affair all in all; the script thin and relatively drama-free, which proves irritating considering the assured performances and flashes of brilliance that do flair up.