Neil Smith

Sixteen years on from the Shia LaBeouf original, though, the many brains behind this franchise have still to figure out how to satisfy an audience without leaving it bludgeoned.

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

It's a must see for fans of roar footage.

The story is predictable, but Simmons’ tighty whities and Delpy’s fish impressions compensate.

Reichardt and Williams reunite to muted effect to create a portrait of an artist that feels a little unfinished.

An action vehicle that, in trying to do it all, does a little too much; Johnson and Blunt keep it afloat.

Washington and Wahlberg are an effective double act in an intermittently exciting thriller with more twists than it needs. We’d love to see them partnered again, though perhaps as characters.

The performances keep us engaged.

Believably charts a girl’s coming of age but is eventually capsized by lurid melodrama.

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.

James DeMonaco’s blood-splattered thriller begins well before expiring slowly from multiple improbabilities.

A visually striking and inventive overhaul of well-oiled IP that suggests animation was the right path all along. Autobots, roll out!

A solid outing for a re-Bourne hero that could, with a few key tweaks, generate another round of vehicles for the Clancy cash cow.

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

It doesn’t exactly soar and the lack of levity grates, yet the Spooks movie still delivers some appealingly old-school mayhem.

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

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.

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.

Assured if not inspired, Legacy keeps the Bourne engine ticking over without reaching top gear. The action's accomplished and Renner's fine. Without Matt Damon, however, it feels like a placeholder.

Rob Lowe provides colour as a Southern-accented sleazeball, while the Free Willy finale has enough vehicular mayhem to excuse its dodgy FX.

A serious subject is sensitively handled in a drama that’s otherwise just tear-jerking soap opera.

It’s not great Scott, but House Of Gucci still offers a fine excuse to vicariously experience the lifestyles of the rich and shameless.

Fun when Jones is around, dull when he's not, it's all just a little bit of history repeating.

Despite being as garish and manufactured as Perry's multi-coloured hair-don'ts, Part Of Me deserves kudos for allowing an element of unpredictability to intrude upon its tween exploitation and sugary vulgarity.

A memorable showdown from yesteryear is recalled in an enjoyable yet frustrating film that stubbornly refuses to pick a side.

Pixar falls back on the tried and tested in an entertaining caper that will be a surefire kid pleaser this summer. Old favourites are always welcome, but it would have been nice to see some more new ideas too.

The most inventive sequence has Larry and Teddy plunge into an MC Escher painting, an interlude so dazzling you can almost overlook the weeing monkey.