Olly Richards

Structurally it’s a bit ragtag, but, as your mum would say, it has its heart in the right place. For all its wilful oddness it’s enchanting, imaginative and genuinely moving.

Dull.

Its brainless brawn is again pretty entertaining, until the credits roll and you can instantly forget the whole thing.

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.

Sure, the final act is the sort of monster battle we’ve seen countless times, but Shazam! Fury of the Gods never loses the energy and easy laughs that makes this second-tier hero far more fun than a lot of his more famous colleagues.

Lovely to look at and with some fun material not of Seuss' invention, but it's too hectoring, like reading an environmental textbook with jolly pictures.

The storyline delicately tiptoes along the line of good taste and is embroidered by a first-rate cast. Still, a knockout moment is missing.

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.

It might have worked better if it took itself a little less seriously.

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

Ror all its cleverness, Emily Rose does have its hokey moments.

Robustly acted by a superb cast and with some beautiful moments, this follow-up to The Father nevertheless feels less mature and less sure of itself.

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

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

It’s always fun, inventive and full of charm. If you have any concerns that Jason Reitman’s film might sully the legacy of his dad’s greatest creation, there’s nothing to be afraid of.

The kind of film the tabloids will call to ban. Don't take that as a reason to see it.

Ridiculous, of course, but not as ridiculous as it might have been. As much fun as it has with the idea of animals stomping cities to rubble, it seems shy of going completely over the top, and it’s the poorer for it.

Vaughn gets a lot of points for imagination, but then quite a lot taken away for not knowing when to stop. A blast at times, The King’s Man could have sacrificed a fair chunk of plot for a bit more comedy.

Surprisingly watchable, at least by recent Vince Vaughn standards, with Chris Pratt stealing the show was the hilariously gormless lawyer.

A likeable comedy that uses its greatest asset, its talented, funny cast, to good effect.

A dream cast are on good form in a film that makes you want to call your siblings, but very glad you don’t live with them.

Sweet, formulaic entertainment, but occasionally clunky.

A by-the-numbers biography, this sheds little new light on an icon but features a soaring performance from Kingsley Ben-Adir.

Since the adorable, simple Garden State, Braff’s ambitions as a filmmaker have grown. He’s reaching for answers to really big questions, but they are, just slightly, beyond his grasp.

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.

New director Steve Caple Jr (Creed II) isn’t as slick a director as Michael Bay – it’s sometimes hard to orient yourself in his larger battles – but he’s efficient and can land some solid gags. It feels generally similar in tone to Bumblebee, by far the most fun Transformers movie.

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.

A much bolder, braver horror sequel than most. Except for a wispy ending, it’s a match for the first.

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.

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

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 sequel nobody needed, and very few demanded, but one that is nice to have anyway. Very daft and very childish and mostly very funny.

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.

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.

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

As a perfectly serviceable horror movie, it at least gets the Exorcist franchise back into respectable territory, but there was the potential for something much better.

A trippy mix of horror, thriller and sports movie, Him is a very wild ride. A launching pad for its director and lead, and a shining moment for Wayans.

Not bootiful.

A thin soup of weak jokes and contrived drama.

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

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

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

If you can make it through the bland schmaltz of the first half you'll be rewarded with a spectacular blast of sustained action and the promise of even better to come. This could be the start of something great.

It’s Liman’s least charismatic action movie and the least developed, but it still packs some cracking action into its brief running time and lays foundations on which a great franchise could be built.

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

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

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.

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.

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

It's always trying to do something unusual. It has a great lead in Pegg. What it doesn't have is an ending or a clear reason what it wants to be.

A turkey in crow’s clothing.

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

Neither good nor bad. Scales dizzying new heights of okay. Aims for mediocrity... and nails it.

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

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