Olly Richards

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.

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

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

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.

If you’ve asked yourself why on earth there needs to be a movie about Troll dolls, this doesn’t really provide a strong answer, yet for all its awkwardness and fluff-brained logic, its enthusiasm is infectious.

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

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 few big laughs but weakly drawn characters mean a film that is enjoyable enough in the moment but then quickly forgotten.

It’s fun to take another turn with Derek and Hansel, but they probably don’t have another season in them.

There’s still plenty here to make you shiver, but in letting events out of the basement this sequel has also released much of the tension.

The young cast, which resembles a collection of Gerald Scarfe illustrations, acquits itself reasonably well, but is too ordinary to be heroic. And, once action is introduced into the mix, Barry Levinson'’s direction falters.

A Hitchcockian Poltergeist meets Single White Female, it's exactly as confused as that sounds, but just as intriguing. Stewart shows she’s now one of the most interesting actresses of her generation.

An ambitious documentary on one of the most intriguing, frightening phenomena of our time. The attempt to cover every aspect of a broad topic results in an intriguing if slightly disjointed watch.

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.

There are almost endless holes you could pick in its logic and storytelling, but it gives you few reasons to want to. This Friday’s freakier, but it’s kind of… funner too.

Zosia Mamet is the major selling point here. In a film that’s lovely but unlikely to prove memorable, she shows she can carry a film with immense charm.

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.

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

Persevere through the sluggish first two acts and you'll be rewarded with a touching relationship perfectly acted by Lewis and Breslin.

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.

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.