Olly Richards

As a chance to see the celebrated Broadway show with the original cast, this is a treat. As a re-interpretation of a classic, though, it's a disappointment.

It's Sarah Polley through and through: slightly too glum for its own good, but reeking of quality and feeling.

Anyone unfamiliar with or underwhelmed by the music of OutKast will find little in this thin piece of cinematic storytelling. Fans happy to luxuriate in its artistic indulgence, however, will be swept up in the weird, random, fantastic OutKastness of it all.

Even if you didn’t know what comes next, this story of the first days of the Obamas would still seduce as a sweet, smart romance.

Sweet, formulaic entertainment, but occasionally clunky.

A few laughs are salvaged due to the sheer quality of the talent present.

Great houses, shame about the plotting. The sort of glossy nonsense you might happily half-watch on a lazy Sunday.

Take That have more than enough hits to give this a solid soundtrack, but the story they’re loosely tied to is weakly constructed and far gloomier than the cheery music deserves.

A mushy mix of sentiment and some off-key singing lets the air out of this beloved musical's limo tires.

Further complicating the already indecipherable lore of the first film, The Boss Baby 2: Family Business is nice to look at but unfunny, unengaging and unintelligible. May it grow up soon.

Not bootiful.

A crushing disappointment for fans and a scuppered opportunity for a cinematic event. That the first book has been so mishandled doesn’t bode well for the (already greenlit) more complicated ones to come.

A muddle.

A promising idea that never develops beyond that.

Innately sweet, due to the high number of fluffy animals, but it has the gloopy emotion and silly plotting of a Nicholas Sparks novel. Nicholas Barks, if you will.

Endless wordplay and dumb slapstick do not a rewarding animation make. Pun-ishing.

If you came for cute canines you’ll get them, but you’d get more entertainment from an hour of dog videos on YouTube.

Inspired by The Graduate it may be, but despite Aniston’s charm, this confused comedy will not be seducing anybody.

If this tiresome yarn is the ‘true’ story of one of Disney’s most popular villains then, please, give us colourful lies and happy ignorance.

Everything that comes after the confident, dangerous first half-hour just makes you pine for what could have been as this devolves into ten-a-penny teen-lit sludge.

Superlative performances from Roberts and Hammer almost cover the shortcomings. Like most Tarsem films it's a muddle, but this time not one with enough distracting dazzle.

Even with a strong cast to gild its endless chambers and salons, there's barely a spark of soul to fuel its story. Pattinson is no Malkovich either.

Tonally a complete departure from the rest of the series, which is at once laudably brave and disappointingly unfunny.

For all his ambition, Serkis can’t find the right tone for Mowgli and it becomes a very confused beast, neither fun enough for all ages to enjoy nor complex enough to be the visceral, grown-up thriller he nudges at.

Long-shelved, the final product never lives up to the promise of its contemporary-Grimm-brothers conceit.

It’s gory and mildly funny but its joke – that the bear is acting like a serial killer – is the only one the film has. It wears thin very quickly.

If you pay out money to see this, you got fleeced.

If you’ve never seen Luther, don’t start here. You will be completely lost. Even dedicated fans are likely to be confused by this messy revamp of a story that once felt dangerous but is now merely daft.

Even if the film takes a moment to sheepishly acknowledge its more offensive gags, it’s still asking for laughs from them.

Ultimately, Hidalgo falls down due to a neglect of basic story elements -- anonymous villains, a hero with no clear goal other than money, love interests who sound alternately gin-sodden and lobotomised -- and after a brief burst of energy staggers home at a mild limp.

Far from the best of Penn’s directing work but also not the worst (The Last Face is unlikely to lose that dubious crown). Dylan emerges the most triumphant Penn from a largely boring drama.

This true-life tale takes some believing in the era of global warming (too much ice? Really?) but the sledgehammer emoting should let you know you're in a family drama.

The ambition is laudible, but it's to little end. At once empty and impenetrable, this brings to mind a mix of John Carter and Dungeons And Dragons, regrettably in both themes and level of enjoyment.

Less fun than last time and oddly unpleasant in its tone. MacFarlane takes potshots at everyone he can find, while shielding the two characters that deserve it most.

Despite the gusto its star brings to the role, it's hard to ride shotgun on Hector's voyage of discovery.

Confusing and uninspired rather than completely inept, it’s still likely to be swiftly struck from the résumés of all involved.

One of von Trier’s most confrontingly horrible films is also one of his weakest. A story about a man disguising his lack of worthwhile contribution with violent self-interest is guilty of every point it’s making.

Heroes in a half-arsed shell.

The dialogue is intelligent, but the humourlessness -- and the fact that most of the cast could use a good slap -- results less in involving drama and more in the viewer being held hostage in a 90-minute therapy session for the well-dressed and narcissistic.

The idea is so great that it's a crying shame that the end product is such a sheep in wolf's clothing.

Terrific performance alone can't mask the lack of originality.

A poorly written, directed and acted imitation of the first. Not funny, not clever and, crucially, not cool.

As kiddie entertainment it works well, with simple humour and lots of action. But there's not a lot to appeal to any accompanying adults.

With its hackneyed storyline and critical derision in the US, whispers were that Honey was to be the new "Glitter." It's not nearly that bad, which is a shame since it just skims the embarrassingly blind enthusiasm of which camp classics are made -- instead bouncing along the path of bland and forgettable.

Perhaps it’s fitting that this story about babies has the attention span and grasp of logic of a newborn.

If you thought the first Trolls movie was fine, you’ll probably find this fine too. It completely lives up to the watchable mediocrity of its predecessor.

It’s third time unlucky for a series that still hasn’t worked out what it wants to be. The Last Dance can’t find its rhythm.

Maybe it’s fitting Playmobil: The Movie is old-fashioned, stiff and only suitable for those between the ages of four and ten, but it sure isn’t much fun.

A tragic waste of acting talent, with nothing new to say. Can we please now politely close the door on middle-class repression before we get really angry?

A thin soup of weak jokes and contrived drama.

Fast Five was a good example of how applying The Rock to a tired series could bring it back to life. G.I. Joe, by opting for self-seriousness instead of knowing daftness, has squandered its secret weapon.

It’s glossy and at times goofily funny, mostly thanks to Johnson’s subtle comic skills, but the novelty of this messy relationship is really beginning to wear off.

Fleetingly enjoyable in very short bursts, this is the most cynically constructed event movie in recent memory, its heart purely in its wallet. A fantastic bore.

Dull.

A turkey in crow’s clothing.