Neil Smith

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

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

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

Though it’s good to see Michelle Pfeiffer married to the mob again, she alone can’t redeem a lumbering farce that takes an unpleasantly sadistic glee in violence, murder and intimidation.

Marvel’s man with the mallet does all that’s required of him in a breakneck sequel that’s never dark for long. Next time, though, we’ll have more Loki and fewer elves.

Potts does the singing himself, but that doesn’t stop Justin Zackham’s (The Big Wedding) contrived script from sounding bum notes throughout.

Green fashions a slow-burn charmer that’s a million miles from Pineapple Express in tone, pace and content. But just like that film, the odd couple interplay is beautifully judged.

Squeezing every drop of tension from wet-ink recent history, Phillips only falters when making its protagonists mouthpieces in a broader geopolitical debate. Otherwise, it’s full steam ahead to the Oscars.

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

Longer than OHF and just as daft, WHD makes for a more entertaining watch before succumbing to the same bombastic overkill.

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.

Neatly juxtaposes the beauty of the landscape with the enmities it engenders.

The final showdown whisks up the requisite excitement, but the open-ended coda feels like an optimistic throw of the dice from the franchise showing meagre signs of Harry Potter longevity.

It’s the same sappy drivel as before.

Can’t decide if it’s a broad farce or a poignant portrait. Small wonder then, that it falls short on both counts, failing to earn either Bridesmaids-sized laughs or nods of recognition.

Charming, poignant and often very funny, Baumbach and Gerwig’s latest collaboration is a joyous portrait of an unformed personality that should strike chords of recognition in all who watch it.

It’s a step up from the garbled silliness of Wolverine’s first solo outing. Unlike Origins, the storytelling is more sharply focused here, ignited by flashes of stylised superheroism.

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

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.

Veteran French actor Bouquet brings a lifetime of experience to his arthritic old master, though, while the frequently unclad Theret captivates and exasperates in equal measure.

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.

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

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.

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.

That every jibe lands woefully wide is no surprise, though we’ll give leading lady Ashley Tisdale credit for giving her all to a film that mercifully won’t be around long enough to do any lasting damage to her post-High School Musical career.

An expertly calibrated drama confirming Marsh’s status as one of Britain’s most formidable filmmakers.

The leads make sweet music in an affecting four-piece that, if not note perfect, plays well to their individual strengths. A marked improvement overall on this year’s other Quartet.

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