Jamie Neish

Home is funny, colourful and fast-paced.

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.

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

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.

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

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.

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.

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.

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.

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

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

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.

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 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.

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.

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.