Olly Richards

Efron gambles with his image, but he knows when to up the star power. It’s perhaps fitting that the film falls flat when he, playing a killer who loved the spotlight, leaves the screen.

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.

It’s a promising idea that starts well, and although it starts to flounder by the end, Kunis and McKinnon do sterling work making sure it never completely runs out of energy.

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.

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.

The animals are cute and Gleeson is extremely game. What keeps Peter from Paddington-style delight is a self-conscious need to distance itself from its source material.

High in gloss if not necessary insight, this is manna for fashion fans but a marginally slighter piece of work than The September Issue.

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.

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.

The jokes are strong and delivered by a very talented cast, but the heart isn’t there. It’s easy to laugh, but hard to care.

With a 105-minute running time, making it practically a short in the MCU, it has just enough good stuff that it doesn’t outstay its welcome. But the intricate plotting that was once a Marvel selling point is now becoming a millstone around its muscular neck, keeping newcomers out instead of welcoming them in.

Strong subject matter and a superb cast are treated disappointingly with sledgehammer subtlety.

While lacking the richness of its source material, it remains an enjoyable, immoral and sometimes beautifully Gothic tale.

This is far from the disaster that was predicted. It’s cute and cheerful, but its efforts to make Snow White both respectful to the original and relevant to a new audience leave it stranded in some smudgy grey areas.

Highly likeable, pleasantly unpretentious and plenty amusing.

A lean, atmospheric and acutely creepy little horror pic - nothing more, nothing less.

Like Queen, Bohemian Rhapsody is three parts good but not terribly exciting, and one part absolute joyful, fabulous entertainment that makes you forget everything else around it.

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.

There's more here for the under-tens than over-, but it's still charming, amusing and energetic enough to win you over.

The Ocean’s Eleven: The College Years mood makes for a breezy good time, even if there is, like Vegas, precious little substance beneath the glitz.

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.