John Hazelton

British actor and TV host James Corden gets a bigger role in the story’s last act, but even his cuddly charm and pop culture cachet fails to bring this surprisingly flat action comedy to life.

The action ultimately takes second place to the fun moments linking the spin-off to the main Star Wars saga

Brie Larson and Destin Daniel Cretton, star and director, respectively, of 2013 festival favourite Short Term 12, re-team for the affecting, if less intense and occasionally meandering drama of The Glass Castle.

Though the action...sometimes has a slightly distracting video game feel, it’s often stirring stuff, and it’s skillfully integrated into the developing relationship between the title character and her mortal man.

Screenwriter Jeff Nathanson (Catch Me If You Can), taking over from series regulars Ted Elliott and Terry Rossio, doesn’t make much sense out of the typically (for the franchise) convoluted plot, but does manage to bring out a father-child theme that lends the film a little emotional resonance.

Hyperactive, oddly premised and never quite as endearing as it should be, The Boss Baby is an animated family comedy that seems to have all the right elements but just doesn’t deliver.

Retro horror and racial tension mix to surprisingly entertaining effect in Get Out.

A bravura performance from Matthew McConaughey as a schlubby, roguish mineral prospector in desperate pursuit of the American Dream is the seam that gives Gold its value.

Part space romance, part space thriller and all space corn, Passengers is a messy and unconvincing mash-up that tries to get by on the not inconsiderable charm of stars Jennifer Lawrence and Chris Pratt.

For all its attempts at inventive excess – and at slightly more sophisticated humour - this scattershot gross-out comedy ends up producing chuckles rather than real laughs.

Most of the story’s credibility goes out the door with the big plot twist.

An impressive US debut for French-Canadian director Denis Villeneuve, dramatic thriller Prisoners is a potent mix of suspense, emotion and intrigue that draws intense performances from leads Hugh Jackman and Jake Gyllenhaal.

Keeping Up with the Joneses may have twice the talent of other outings in the spy-couple sub-genre...but its laugh quotient is pretty low. And that’s a real problem for a romantic action comedy that’s always going more for humour, with a touch of sweet-natured romance, than thrills.

There’s more texture than might be expected from characters based on plastic dolls.

The third instalment of the re-booted Star Trek franchise gets safely through its voyage, offering a strong returning cast and a familiar, if slightly tweaked mix of effects-heavy space action, cheeky humour and philosophical musing.

This apocalyptic thriller is a run-of-the-mill zombie flick that goes through the genre motions efficiently enough but fails to live up to its credits.

Collision Course is a colourful 3D romp that’s heavy on slapstick and cosy family comedy but light on real laughs and affecting drama.

The film takes a long time to build dramatic momentum and gets interrupted by what seem like unnecessary plot points; some of them, perhaps, geared towards potential sequels.

Less on the nose than the title makes it sound, faith-based offering Miracles From Heaven spins some bland but efficiently tear-jerking drama out of its true story-based tale.

Though there’s some clunky dialogue and not much real character development, Reynolds manages to put the action, mystery and drama elements together into a credible, and at times quite touching whole.

Though it never gets too preachy, the film delivers its message about the dangers of stereotyping quite clearly and draws parallels with instances of everyday racial prejudice among humans.

While the book had a kernel of believability and seriousness, on screen the drama is pretty insipid. The comedy, which produces only a handful of real laughs, comes from each character in turn, with Wilson dominating – and providing the mostly verbal raunch – in her now familiar party animal persona.

The climactic rescue sequence has tension and some thrills, but it’s over fairly quickly and the film settles back into a sentimental lull

Intense battle action and rousing heroics just about make up for the dramatic shortcomings of 13 Hours: The Secret Soldiers of Benghazi.

With a script that’s about as inventive as the title, Ride Along 2 does little more than rehash the formula that two years ago teamed Ice Cube and Kevin Hart in an amiable if unambitious action comedy.

What’s missing is much in the way of substantial drama or character development.

Though it sometimes recalls the irresistibly energetic, genre-bending feel of Lee’s best films – Do The Right Thing in particular – it lacks the assurance and unifying thrust that made those features work so well.

When the film gets more serious it produces some affecting moments between the two leads.

Danny’s story isn’t dramatic or affecting enough to carry the film and other characters never develop into anything more than colourful ciphers. Irvine is appealing and relatable, but his performance isn’t always convincing and he’s handicapped by some clunky dialogue.

Visually spectacular and consistently entertaining, Ridley Scott’s space rescue procedural The Martian suffers only from a failure to hit its emotional beats with the amount of force and feeling usually required to make this kind of life-and-death adventure really take off.

With more action and less mystery, a returning director and main cast and a handful of sketchy new characters, The Scorch Trials makes for an efficient yet uninspiring sequel.

A breezy but touching dysfunctional family dramedy, with real heart and some genuine musical soul.

Initially, it plays like an atmospheric but predictable stalker thriller with not much more than style – and maybe the casting of the always watchable Jason Bateman – to recommend it. Later, though, it turns into a considerably more intriguing and twisty psychological drama.

Sporting a flowing mullet and aviator shades, Dinklage perks things up considerably as the story’s comically arrogant bad-boy-turned-good-guy.

The Gallows offers up few new ideas and very few genuine scares.

Tangerine paints a portrait of transgender sex workers and their clients that pulses with raunchy energy and compassionate humour. It’s a bracing slice of American indie film-making.

There are enough twists and turns in Self/less to keep things interesting

Max is a genial if somewhat old-fashioned tale that’s too clunky to transcend its genre(s) but effective enough within its own limited emotional range.

A forced and often cloying romantic comedy-drama with a strong, Bradley Cooper-led cast and an enticing Hawaiian setting but a bewildering mishmash of plot threads and themes.

The very earnest human drama fits awkwardly into the action and isn’t helped by some unconvincing performances and weak dialogue.

A raunchy yet slack-feeling comedy that seems to put as much effort into playing on racial stereotypes as playing for laughs.

The second installment of the Divergent series shows some symptoms of middle chapter-itis but in the end makes the most of a strong returning cast led by Shailene Woodley, slick direction from Robert Schwentke, impressive effects and a closely guarded plot twist.

While the dramatic themes echo the great crime movies of the seventies, it’s the modern flash and muscle that ultimately win out in this pacey yet less than satisfying action thriller.