Jordan Hoffman

The Road Chip isn't exactly what I'd call a good film and has almost nothing going on in the visual department, but for those saddled with kids for an afternoon, you could do a lot worse.

The movie itself is a retread of indie story beats we’ve all seen time and again. Slate’s tornado of a central character doesn’t quite overcome the rote aspects of this production.

Barbershop: The Next Cut is hardly subtle, but it is more nuanced than you might expect.

It’s rare when you can pinpoint the exact moment a movie goes off the rails, but when Nerve downshifts from far-fetched parable into idiotic action, the film at least has the decency to speed itself along to get to the ending.

It’s the same low-budget horror flick you’ve seen many times before, but it’s nice to see some local variants on a familiar theme.

Despite the numerous patchy moments The Brass Teapot by and large squeaks by as an enjoyable entertainment.

Klown Forever has even less of a plot than the first film, which is a bit of a problem.

The on-stage moments of Entertainment are revelatory but, unfortunately, some of the in-between meat of the film doesn’t quite connect.

The restrained performances and luscious location photography are enough to make this a film worth exploring, though it might not be a bad idea to down a few caffeine-rich drinks before settling in to watch.

The first half of Straight Outta Compton, F Gary Gray’s two-and-a-half hour opus about the birth of west coast gangsta rap, is bursting with energy, exuberance and inspiration. The second half is immobilised by bloat and sanctification.

There is something so authentic in this film that once you get past the annoying voice and some of the dreadfully unfunny side characters, it is disarmingly sweet and even occasionally clever.

If anyone other than Hawkins were in this film, it would be very hard to recommend. With her in virtually every scene, it is a lovely, tiny character study.

Despite the desultory nature of the film, it is sure to hammer home some key points.

Both Rogen and Franco, who have marvellous chemistry and exude good cheer, continue to tweak their personas in this very amusing, very imbecilic film.

Da Sweet Blood of Jesus isn't entirely successful – and certainly offers few new insights into the nature of addiction – but it remains a welcome change of pace.

The best parts of Paper Towns are also the best part of being young – just hanging out doing nothing with friends who know you too well to allow for any lies.

Surprisingly, for a movie this ephemeral, the closing sequences, which consist of flashbacks and confrontations, are actually quite touching.

The end of the movie goes completely off the rails, but in a way that is charming in its stupidity.

By the end of the movie few won’t be rolling their eyes or checking their watch, but there’s enough that’s fundamentally good in the meat of film not to wholly reject what The Giver is giving us.

It’s coarse and it’s stupid, but it is, thanks mostly the two good performances and some stylish use of music and editing, a little bit moving.

One of the world's top disturbing tourist attractions is now finally getting the spooky film it deserves

Despite the uncomfortable sexism and altogether predictable nature of the film, I’d be lying if I said it wasn’t modestly entertaining.

This is detached, flat film-making at its most bare. You figure out which lines of dialogue deserve to be underlined.

God, it’s so obnoxious. And the worst thing is that it works. I was smiling and applauding at the end, then I had to take a long walk alone to wonder what was wrong with me.

The Ted franchise is perhaps unstoppable if MacFarlane sets his sights a bit lower, finds a way to streamline the plot mechanics and just give moviegoers what they never knew they wanted: time hanging out with a foul-mouthed anthropomorphised soft toy.

Put bluntly, Tim Story's film wears you down until you relent and say, yes, I like these people and it's fun to watch them all have such a good time.

There’s a fine line between a slowburn and dull, and this Magnificent Seven frequently finds itself on the wrong side.

There is a sincere effort to get beneath the facade of what an extremely fit twentysomething firefighter’s life is like. There’s even a possibility that the film’s first act is intentionally distancing so that the later scenes will have a bigger payoff.