William Thomas

A blockbuster that offers enough quirky pleasures to feel fresh and unpredictable.

You should feel sorry for the memory of Julia - whose swansong this is - but actually it's Van Damme who commands sympathy.

Utterly mindless, but on its own snap, bang, and wallop terms, it works well enough.

This uneven but well-researched film takes a much more sober and realistic view than the Rambo-esque capers, of the hardships endured by shot-down Americans in conditions that were anything but Hilton-like.

This modern musical - with tunes written by Where Are They Now pop band ELO - falls flat on its face simply because the premise is so utterly ludicrous.

There is some fun to be had if you're in an undemanding frame of mind.

Flat and unfunny, this merits a second star based entirely on Scott’s cameo. Kev, get thee to a typewriter. You’re so much better than this.

A totally unneeded sequel which does nothing whatsoever for the legacy of the original tale.

Oldman and Seyfried prove to be the big attractions, but Hardwicke's Riding Hood legend still lacks bite.

It’s a film that doesn’t so much invite you to switch off your brain as take it out and dump it in the nearest popcorn box.

Like, so lame.

This feels bigger and more cinematic than the first film, and sees a progression in the lives of the characters. But many of the jokes are beyond broad, and the Middle Eastern stereotypes are shockingly cack-handed.

As a throwaway 80's B-movie you could do much worse. Hauer, as is his way, plays the rough and silent type, this time a cop with Scot Duncan as his partner. There is enough gore, monsters and violence to satisfy but a good plot is sadly lacking and worst of all, they even managed to make Kim Catrall look unattractive.

Driven by cliches and almost completely ignoring the psychological growth of the children coping with the loss of their parents, it doesn't take long for this to descent into meaningless schlock.

Predictably awful fourth installment.

An unredeemable failure on all levels, other than living up to our expectations.

Almost palatable, with some fast-moving stunts but dreadful dialogue.

It's a fine line between high art and overblown nonsense. Bizarre accents and annoying camerawork abound in this package of tripe which isn't sure whether it has just left the butchers or is on its way back.

Pretty terrible sequel in every respect.

Even with The Exorcist in the world, there is still scope for a contemporary, shocking and thrilling film to be made on the subject of possession. But this is not it: some found footage should really just stay lost.

Energetically humourless, with travelogue and circus footage inserted between the dog-piss and big boob jokes.

An obsequious, ring-kissing portrait of the current US administration, dressed in gauche, glossy reality-TV clothing. And yet somehow still better than Rush Hour 3.