Neil Smith

There’s no questioning Skarsgård’s commitment to his character’s descent into depravity, while the gifted Goth is fearlessly uninhibited. But just because Infinity Pool looks good on the surface, that doesn’t mean it has hidden depths.

The results – achieved through small cameras clipped to nets, masts and the crew – will hook some and induce seasickness in others.

The performances keep us engaged.

For all its attempts to expand the original’s ensemble and embellish its themes, Dory is cod in batter beside Nemo’s smoked salmon. But still tasty.

As terrific as Colman is, however, the film around her has a schematic and engineered quality not too dissimilar from Jones’ prized projectors.

Clearly no stranger to John Hughes movies, writer-director Kelly Fremon Craig brings a spiky wit and a warm-hearted, nerd-friendly finale to a comedy that wants for nothing but a little substance.

Though stronger in its more straightforward first half than in its experimental and hallucinatory second, 28 Years… still provides enough terror, splatter and suspense to satisfy.

As much as Nicholas Jarecki’s debut feature simmers, it never quite boils.

Though we'd love to see how Aardman handle Defoe's followup, An Adventure With Communists, this amiable but overstretched diversion is unlikely to spawn a Caribbean franchise.

For all his noble intentions, though, Crocodile Gennadiy sure loves the limelight, forcing us to speculate whether he works for God’s glory or his own.

A serviceable translation of a theatrical success whose weaker elements are found wherever it veers too widely from its source.

Precision-built to make you chortle, M3GAN is a l0t of 4un. On the fr1ghts front, however, it’s basically a Furby.

Backdraft clichés notwithstanding, this is a stirring fact-based tribute to public servants putting it on the line.

The doltish, messy and frequently incoherent result bears all the hallmarks of a botched and compromised endeavour.

Given the short from whence it came ran a mere 12 minutes, there is a definite sense of material being extended beyond its elasticity. Yet it’s a decent vehicle for Ridley that, like last year’s The Marsh King’s Daughter, shows she doesn’t need a galaxy far, far away to demonstrate her star (Wars) power.

Those with fond memories of a gentler era of boy-and-his-insert-critter-here heartwarmers are bound to welcome Dragon’s old-fashioned vibe. But it still feels almost perverse to place all of Weta’s hi-tech wizardry at the disposal of a film so stubbornly, studiously lo-fi.

Though delightful in places, the third entry in Sony’s third Spider-Man cycle feels both overstocked and underwhelming.

We’ve seen Stiller do ‘exasperated malcontent’ before, but this remains a perceptive portrait of fortysomething angst.

A little more anger would not have gone amiss in this well-acted but strangely remote slice of Oscar bait

As crude as the oil it revolves around, Deepwater provides combustible entertainment without leaving the shallows.

Forceful and arresting, Ayer's follow-up to "Harsh Times" and "Street Kings" sees him confidently playing to his strengths.

A primitive concept (cavemen play football) generates unsophisticated laughs in an animated caper that’s fun but rather second division by Aardman standards.

Such is the in-built disposability of this sort of lightweight streaming fodder that those who watch it will probably have forgotten it inside of five minutes.

The shadow of subsequent events looms oppressively large, but Greg Barker’s film still speaks eloquently for diplomacy and selfless public service.

Though more forgiving than previous Solondz films, Dark Horse is too slight to herald a wholesale change of direction. Yet it's still worth catching, if only for Walken's terrible toupee.

Like the inscription on her daddy’s sword, the new Mulan is loyal, brave and true… but not quite as funny or dramatic as it might have been.

Jordan’s apparent resolve to make an anti-Twilight unfortunately results in a movie that, if not for a fistful of moments of shock, style and excess, would be as drained of colour and tension as Ronan’s victims are of hemoglobin.

Entertaining enough but inessential, Kingdom offers spectacle and thrills but lacks the ambition, smarts, and gravity of its immediate predecessors.