Nick de Semlyen

An ultraviolent Korean crime film with plenty of swagger and visual brio, but still too generic to really stand out from the pack.

It’s an energetic survival thriller and terrific showcase for Lively’s chops, but iffy plotting and a sloppy climax detract from the terror.

Full-force performance form Ryan Reynolds but not as funny as it hopes it is.

Swinging between ice and space, Clooney has upped his directorial ambition and delivered a big-scale, big-hearted story, even if it struggles to match the films it riffs on.

Guy Ritchie delivers a nice surprise: an LA neo-noir with high-voltage action and an ice-cube-cool Statham. If it gets a bit tangled up in its time-hopping reveals, it’s largely 
an enjoyable, rattlesnake-mean thriller.

This is maximum-gloss entertainment with its fair share of tricksy rug-pulls. But, like one of the neon-coloured cocktails Smith drinks in it, it’s more of an immediate rush than something you’ll remember in a year.

Some summer anti-programming arrives in the form of a highly talky, at times upsetting prison drama — think Fortress meets Limitless. You can feel the strain of its expansion from novella form, but it’s just about worth a visit.

Scruffy and overstuffed, but contagiously good-natured. And frankly more films need to feature showdowns at abandoned alligator-themed amusement parks.

The concept of combining Adam Sandler and horror is not a bad one. But this is no Abbott And Costello Meet Frankenstein. Instead, Hubie Halloween inspires mild dread for all the wrong reasons..

Like Maximus, the hero who inspires the theme of its pivotal party, Greed will keep you entertained. But patchiness and occasional preachiness mar a clearly heartfelt message movie.

With hard-boiled dialogue, sleek God’s-eye views of the city and serious talent in supporting roles, you’re not given a chance to get bored. Even so, an air of overfamiliarity hangs over proceedings.

A thinking person’s Bad Boys, this off-kilter indie crime comedy introduces two deliriously warped lawmen to the screen. Here’s to a Cuba-invading sequel.

An old-school film about an old-school crime that brings together an impressive array of British legends. Solid, but sadly the results don’t exactly blow the bloody doors off.

A disappointingly tame and unimaginative effort, which throws away much of what was best-loved about the original and fails to find worthy replacements.

The film strains in two different directions, half trying to stay true to its based-on-fact roots, half wanting to ditch all that and become a ridiculous farce.

A supernatural, effects-laden yarn like this is right in Robert Zemeckis' wheelhouse. Which makes it a little disheartening that it’s merely good, rather than great. Dahl's story still sings, but like a potion missing eye of newt, this new take is slightly undercooked.

Verdict Spies, terrorists, remote-controlled bombs… Unlocked’s components are all too familiar, and it doesn’t put nearly enough effort into making them feel fresh.

A film based on a game inspired by films that are much better than this one, Uncharted is watchable enough but could have been so much better.

The premise promised Regency class and Romero shocks. The results, though, are only intermittently entertaining, and a better adaptation of Austen than a monster mash.

Come for Nic Cage fighting a robot alligator with a mop. Stay for some inventive licks on the dead-by-dawn horror-movie template, though the other characters are nothing to shriek about.

There are moments that make the whole enterprise worthwhile, and introduces an intriguing new Batman. But it’s also cluttered and narratively wonky; a few jokes wouldn’t have gone amiss, either.

It’s not hard to tell that this Big Lebowski spin-off involved neither Coen Brother. Fair play to Turturro for going in such a strange direction, and assembling a pretty killer cast, but it’s unlikely to satisfy even the most ardent Quintana enthusiast.

Essentially a Split sequel with an Unbreakable topping, this is weaker than either of those films but still has a decent amount of entertaining and creepy sequences, most of them due to McAvoy’s high-commitment performance.

The action is sharp and imaginative, and Jordan strongly establishes his action-flick credentials. But story-wise it’s all very familiar and more than a little dour.

An earnest stab at crunching a brilliant breezeblock of a novel down to film-size, but one that fails to pay off. Frankly, you might have more fun watching a pigeon for 149 minutes.

A microwave meal of a kid’s film, consisting of tired tropes and bland platitudes. This particular village should have stayed lost.

Given the story is based on reality, it’s understandable why the makers of 6 Below didn’t want to throw in embellishments, but a bear attack really wouldn’t have gone amiss.

It has a strong, game cast but this is karaoke filmmaking, trading on nostalgia rather than breaking new territory. Affable but forgettable.