Neil Smith

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.