Neil Smith

In narrowing his film’s field of activity, director Colin Trevorrow dispiritingly winds up reducing it to the tried, the tested, and the numbingly familiar.

Twists pile as high as corpses before an overcooked ending sends things spiraling into silliness.

It’s no slam dunk for King James in a reprise that shows you can only spread Space Jam so far.

Though closer in quality to Morbius than Venom, Kraven is far from a catastrophe and serves up a decent helping of bloodthirsty, globe-trotting action. Taylor-Johnson makes a muscular if self-satisfied protagonist in a film that would have been better off standing on its own shoeless feet than cravenly (or should that be, 'kravenly') cleaving itself to its comic book brethren.

Snyder’s sci-fi epic stumbles towards the finish line with an underwhelming Part Two that feels more like a Part One-And-A-Half.

It’s the same sappy drivel as before.

Bobin’s attempt to fill Tim Burton’s shoes generates a lively but ersatz sequel that only truly ticks when Baron Cohen and Bonham Carter are around.

A ploddingly predictable, gore-lite yawner.

Jaden Smith takes centre stage in a futuristic rites of passager that plays like an extended episode of The Twilight Zone. Although "Oblivion" narrowly remains this summer’s better ruined-Earth actioner.

A lot of talented people have done their utmost to make Hooper’s vision succeed. Sadly, it doesn’t.

Snyder’s passion project risks becoming subsumed by its own self-importance, but delivers bombastic mayhem and grandiose visuals by the bucket-load.

Long before the film reaches its action-packed, train-based climax, however, adults will be questioning if its three writers have so much as seen an actual Garfield comic strip, given how removed their work feels from its activity-averse inspiration.

Sadly, any hopes Mark Tonderai's US follow-up to 2008's "Hush" could have some "Cabin In The Woods"-style surprises up its sleeve are swiftly dashed as its talented lead is reduced to being just another scantily clad babe getting stalked by a psycho.

Fear falls short of fantastic yet it’s a decent effort that, like Pegg’s beard, proves to be something of a grower.

“That was exciting!” says Willis after he and Courtney survive a 20-storey leap through a plate glass window. “Want to go again?” Frankly, Bruce, we’re fine to leave it here.

Bloodthirsty, derivative and xenophobic nonsense.

The Big Wedding isn’t telling a story so much as selling a lifestyle – one that, rather like Heigl’s morning sickness, makes you want to vomit.

The Gearbox title gamers loved has spawned a frenetic and disorderly shambles they’re likelier to loathe. Claptrap? You said it.

Liam Neeson cuts a rather sorry figure in what’s less a final flourish for the series than a prolonged death rattle.

"Welcome to rock bottom!" sighs Hasselhoff at one stage, pretty much summing up this textbook exercise in sloppy seconds. Here's hoping the piranhas have a better agent than he does.

A-list sad-faces abound in a film where absurd concept is rivalled only by banal execution.

"I'm getting sick of this!" says Sigourney during one of Cold Light's many shoot-outs. Those tempted to give it the benefit of the doubt will swiftly reach the same conclusion.