Paul Bradshaw

The Naked Gun isn’t big or clever and that’s just fine – silliness has been missing from comedy cinema for far too long now. It might not smell quite as ripe as the original trilogy but it’s never not wonderful to hear Frank Drebin let ‘er rip on the big screen.

This isn’t anyone’s personal story – it’s just the most filmable bits of a fake past, awkwardly, beautifully, pointlessly patched together at 24-frames per second.

The 3D is completely redundant and the action sporadic but unexpected gearshifts provide plenty of narrative meat.

Never quite sure enough of itself to answer its own questions, this is a fun, sweet and occasionally funny film, but it’s never going to win a battle of the band movies.

Full of sex without ever being sexy, and twisted into the shape of a thriller without having any actual intrigue or suspense, it still stands up as the kind of adult relationship drama that’s gone out of fashion – just as trashy as it is complex.

The first two Deadpool films were funny and violent and original, but this one shows Marvel’s most gloriously inappropriate superhero at his very best and worst.

Weighed down with daft new characters and an overstretched story, the prehistoric saga is looking a bit old. On the other hand, it still has Scrat –which is all any movie really needs…

Hanks takes to Walt like a pair of cosy slippers, but it’s Thompson who adds layers to a classy but predictable slice of Disney schmaltz.

Turning an awful true story about a serial killer into an awful true story about the system that let it happen, The Good Nurse is an important lesson for anyone who tries to package Cullen’s crimes too neatly. Better still though, it gives us one of Chastain’s best performances; one of the year’s most believable superheroes.

Fortunately, Hawke is fantastic. Over-acting like his life depends on it, his mad kabuki mugging somehow works perfectly.

Fizzing along nicely, even as it tips the two-hour mark, Enola Holmes 2 fits the mould it broke two years ago with a twisty murder mystery that’s well worth solving.

Choosing quantity over quality, intensity over tension and big-screen thrills over low-fi shocks – this is probably what the zombie apocalypse will actually look like.

Watching Pine and Newton try and erotically spoon-feed each other bits of bacon while secretly trying to work out if they have to kill each other is more than enough to hang an entire film off. It’s just a shame the rest of the movie isn’t up to scratch.

Almost completely built out of clichés and corn, there’s very little in Plane that hasn’t been seen before, but it very rarely matters. Exciting without ever really thrilling, it’s an immovably solid actioner – a fun Friday night pizza movie packing a handful of relentlessly unfussy action scenes that deliver exactly what they promise.

It might not be much of an Owen Wilson movie, or even that much of a superhero flick, but if you ignore the poster and trailer and the casting and premise, there’s a fun little Sunday afternoon family film here just begging for a sequel.

Tetris tells a cracking story, but it suffers from The Big Short effect – the thinking that no mildly complicated script is palatable without throwing every gimmick possible at it.

There are glimpses of what could have been a decent film here – something charming, witty and exciting, with a cast of greats given room to soar – but whatever might have been is still stuck inside the pages of the book.

Somehow, Raimi – with strong, grounded turns from Cumberbatch and Olsen – just about keeps the film from running too far off the rails.

Careful, kids – rock’n’roll can get you pregnant. Or that’s what one Mormon teen believes in this cute lo-fi indie from first-timer Rebecca Thomas.

The script keeps its gloves on but Gyllenhaal gives his all, notching up one of his very best performances.

It works hard, and the first half hour is textbook creepy, but the oldschool grab-bag of shocks struggles to jolt a dour script to life.

As a comedy creation, David Brent is still a masterwork, and the film works best when the pathos hits as hard as the punchlines. But Life on the Road should probably be the leaving party we all thought had been thrown a few times already.

Bristling with good ideas and two great performances, a rushed ending that dips into daftness ends up killing off what could have been a great pitch for an offbeat little TV show that we’re now never going to get to watch.

It’s hard not to be moved by the story, but it’s only a handful of great performances that save it from underwhelming. Steal the book instead.

With more whimsy than a Wes Anderson wedding – and a clunky third act that potholes the plot – Jeunet’s American comeback is beautiful, heart-warming and a bit of a mess.

An amazing story and an amazing cast don’t always make an amazing film. Too light for drama, not funny enough for comedy; it’s unlikely anyone will ever risk their lives for this.

It might sound like a lazy idea for an iPhone game but a few fresh jokes and lashings of creative gore help it stand out from the shuffling crowd.

Not one for cynics or bedwetters, if you’re after a ripping, roaring, thigh-slapping giant of a fairytale, Bryan Singer’s blockbuster panto will be right up your beanstalk.