Jamie Neish

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.

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

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

Home is funny, colourful and fast-paced.

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.

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.

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.

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

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.

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

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

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.

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.

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.

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.

What the director and writers have done is turn something that's considered by many to be dumb-but-fun into an overlong, unfunny film that's just plain dumb.

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