John Hazelton

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

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.

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.

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.

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.

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

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

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.

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.

The supporting cast takes some of the comic weight off the always likeable Vaughn’s shoulders. But Wilkinson’s character is too sad-sack to be really funny and Franco’s verges on the mawkish.

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.

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

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