Tom Huddleston

This is an unambitious, old-school thriller, nothing more and nothing less.

This is bland, shallow and totally unconvincing, veering between cartoonish overstatement and outright tedium.

When great actors meet a misguided script, the results can be hilarious. And so it proves with Criminal, a nutso mash-up of The Bourne Identity and The Man with Two Brains which, despite a laughable plot and ridiculous dialogue, somehow managed to attract Kevin Costner to the lead role, with support from Ryan Reynolds, Tommy Lee Jones, new Wonder Woman Gal Gadot and even Gary Oldman (who really needs to have a word with his agent after this and Child 44).

Thank the gods of war for Antonio Banderas, who single-handedly steals (and almost saves) the show as a loquacious assassin.

The plot’s old, the title’s borrowed and the jokes are blue – but there’s nothing remotely new in this wearying bromantic comedy.

This is a relentlessly unengaging affair, its derivative and logic-deficient script matched by flat direction and fussy, unconvincing CGI.

It’s time to put this franchise on ice for good.

Riz Ahmed is superb as Changez (pronounced Chan-Gez, not like the Bowie song),

It all leads to a climax so staggeringly lazy and glib that you honestly expect Woodley just to turn to the camera in the final scene, shrug her shoulders and walk off.

The Space Between Us is mostly harmless. But it won’t come close to troubling your heartstrings, let alone the space between your ears.

It’s all too much too fast, and the cumulative effect is like watching a two-hour trailer – more dizzying than thrilling.

The total absence of originality here is notable, but it needn’t have been a problem: with a tighter plot, a touch of humour and some peppier, less slab-fisted action scenes this might actually have worked – a kind of Guardians of the Galaxy meets Lord of the Rings.

The film's final moments, in which we discover the source of the film’s intrusive, patronizing voiceover, are simply vile. The result is like stuffing yourself with Christmas pudding: sweet, glutinous, a bit too much.

In the plus column there’s a small handful of decent gags, a clutch of welcome cameos (Eddie Izzard, notably) and at 85 minutes it doesn’t outstay its welcome. There’s also a fairly solid moral about free will and personal desire. But nothing else here really clicks.

Props to director Rob Cohen for making a gender-flipped 'Fatal Attraction’. But The Boy Next Door really should be a lot juicier.

There’s nothing here that works.

It’s not a total washout: at least one gag in five is actually funny, and the action scenes set an enjoyably breakneck pace. If you’re an 11-year-old on a week-long sugar jag, you might just love it.

Rock the Kasbah just isn’t remotely funny or smart, and none of the characters come within shooting distance of likeable.

Movies this silly, crass and manipulative really shouldn’t be allowed to exist in 2014. But we’re guiltily glad that they do.

Soul-crushingly unfunny...It’s a movie that assumes that if you repeat ad nauseam an unfunny joke about ass-licking, it’ll magically become hilarious. It’s so grotesquely misogynistic, it makes The Hangover look like Thelma & Louise.

Overall this is dull, derivative, murky stuff, full of running and shouting but never really going anywhere.

Contrary to appearances, Mortdecai isn’t a total disaster: Depp may be suffering the most catastrophic career slump since Eddie Murphy said yes to Norbit, but he’s still perfectly watchable.

Precious Cargo isn’t actually as objectionable as your average petrol-station-bargain-bin thriller, thanks to one or two half-decent lines, a plot that vaguely makes sense and an unexpected dearth of outright misogyny. It’s still pretty rubbish, though.

This reboot of the Marvel superhero franchise is a film of two halves: the first likeable and fun, the second tiresome and loud.

Taken 3 scores over its predecessor on almost every level: the stakes are higher, the LA locations are nicely photographed and, best of all, there’s an actual plot, with twists and everything.

Imagine simultaneously eating wallpaper paste, listening to Coldplay and watching the entire ‘Da Vinci Code’ trilogy back to back and you’ll have some idea how grindingly tedious the experience of watching Rings becomes.

This enjoyable-despite-itself horror flick has precisely nothing new to offer - with the arguable exception of a monster in a miniskirt, which may be a first.

Asking far more questions than it could ever answer, Exposed ends on a note so flat and predictable that it undermines all that went before. But there are strange and memorable moments here, and a mood of eerie foreboding that’s hard to shake.