Tom Huddleston

There's a gripping, dark, truly monstrous film lurking in here somewhere, but Bayona seems hell-bent on keeping it at bay.

Lifeforce is a near-impossible film to review, at once indescribably awful and hugely, brilliantly entertaining.

Bits of Allied really do work. There’s a clawing tension to the later scenes, as their marital bliss starts to turn sour. Pitt’s anguish is convincing, and even if some of his actions are ludicrous – endangering an entire Resistance cell for his own peace of mind, for instance – we still feel for him.

There are few surprises in Creepy. With the exception of a bleak, pointed ending, it all plays out as you’d expect. That’s not necessarily a criticism – it’s fun to watch the pieces click into place, and the film is never less than slick, well-acted and nice looking.

Willow Creek doesn’t take us anywhere new – the climax is abrupt and unsatisfying – but it’s a whole lot of jarring, juddering fun while it lasts.

It’s ironic, but Keanu might be a better movie if it was more like TV: 90 plotless minutes of Key and Peele just goofing around on the mean streets might’ve been something really special.

It falters once the actual war begins: Ben Kingsley shows up as a Maori warrior with the weirdest imaginable accent, the final battle is uninvolving, and there’s an unconvincing upbeat coda. Ender’s Game ends up being fitfully engaging and endearingly odd.

There’s nothing wildly original here, but it’s carried off with charm and wit, and two very enjoyable central performances.

When the talking stops the film takes off, with a pair of bone-rattling chases set in Athens and Las Vegas that cause maximum damage to people, property and the audience’s eardrums. A bracing reminder of how fiercely efficient Greengrass can be, these scenes just about justify the existence of Jason Bourne. But, please, no more.

The performances are, of course, magnificent: Webb owns her largely thankless role, while Oldman snarls, spits and staggers like he means it, maaan. But we’re never given a reason to care about their characters, beyond the fact they were famous.

Overall, Bleed For This is difficult to dislike: the story may be hokey but it’s real, and so is the sentiment behind it.

Anchorman 2: The Legend Continues is not the disaster some feared it might be, but neither is it the endlessly quotable, deliciously idiotic follow-on so many of us were optimistically anticipating.

An unbalanced but never less than entertaining film, enthralling and deflating in roughly equal measure, and studded with moments of true, old-school glory.

Rogue Nation is an uneven film.

If Pedro Almodóvar was hired to direct another "Sex and the City" film, it might end up like Cupcakes. The sort of movie that adjectives like frothy and bubbly were invented for.

As a self-conscious exercise in kitsch graverobbing, ‘Viva’ succeeds through a combination of cultural nous and sheer aesthetic audacity.

Perhaps inevitably, the film as a whole doesn't stack up to its central performances.

There are sequences in Doctor Strange that could burn the top layer off your eyeballs, crammed as they are with some of the most unashamedly drug-inspired imagery since the ‘The Simpsons’ episode where Homer takes peyote. But problems arise when Doctor Strange tries to tackle the everyday stuff, like telling a half-decent story.

It takes a while to find its focus – and takes itself just a little too seriously – but as low-budget Ozploitation goes, it’s snappy and effective.

It’s hardly high art, but for a cheapjack homegrown action flick this is surprisingly solid.

The ever-present air of madcap, goofball insanity carries it through. A seriously guilty pleasure.

It’s all a bit heavy-handed at times, but this is a sweet story honestly told.

Luckily, Jackson’s singular talent for massive-scale mayhem hasn’t deserted him, and the hour-long smackdown that crowns the film gives him ample opportunities to indulge it.

Origin of Evil takes a while to get going, and the demonic possession plot pretty much runs on rails. And yet there’s plenty to admire here: strong performances (‘ET’ legend Henry Thomas is a welcome sight as a kindly priest), top-notch jump-scares and some unexpectedly lovely, almost ‘Far From Heaven’-ish autumnal photography.

Denial cries out for a little more subtlety.

Whedon has revealed that his first cut ran for well over three hours, and it shows: Ultron feels excessively nipped and tucked, barrelling from one explosive set-piece to the next, leaving ideas half-formed and character motivations murky.

At just under two hours, the sheer relentlessness can become exhausting. But if you’re a fan of unfettered action, this will be a rare treat.

Ghost Protocol plays it strictly by the book: the characters are bland, the plot is over-familiar and the action sequences are resolutely old school. But animator Bird relishes the chance to play with real people.