Though its 60s-inspired, Gilliam-esque animation style is certainly awkward enough to draw the notice of the arthouse and indie crowds, Cryptozoo’s storytelling and themes fail to come up to the complexity of even a middling Pixar effort.

Petzold struggles to keep hold of the reigns, wielding the effects of melodrama with little to no precision or psychological acuity, and leaving the essential romance at the heart of the story to be rendered almost entirely unbelievable.

A handsomely crafted, yet overacted revenge tale with a broken moral compass, Prisoners fails to build upon its taut atmosphere of suspense with anything of particular social value.

The Girl in the Spider’s Web demonstrates how uncertainty is a detriment, just as it proves Alvarez will always be a stylist worth watching.

Like much of his recent scripted work, it's a mannered affair that's vague and clumsy.

With a lot of filler and none of the killer questions that are crying out to be asked, The Lost Sons leaves a lot unsaid. Take a step back from the effect of the shocking material, and the by-the-numbers construction of the film makes it too formulaic to leave a lasting impact.

There will be those for whom Angel of Death provides precisely what they are after, but a couple of brief flashes of quality aren't capable of making the film anything close to creepy enough.

While Binoche is reliably magnetic and the fitfully pretty visuals match a ripped-from-the-headlines script, Who You Think I Am’s pot never quite comes to the boil.

An imagined biography of a fictional pop star, the film is ambitious in its structure but only occasionally flickers into life.

Ultimately, though it hints at moments of wit, Cuck never feels serious enough to be a convincing character study and not garish enough to head into genre territory. Ultimately, this sordid tale feels both real and inconsequential.

It's an undeniable hoot that plays very much to a specific audience but a word of warning: even those that are fans of this kind of ridiculous and farcical actioner might find themselves checking out of Yakuza Apocalypse before their stay is up. Again, with emphasis on the word 'might'.

When I Saw You too closely resembles a Children Film Foundation treatise on a subject that deserves (and needs and demands) better treatment; something that will focus people's gaze on the horror and displacement of exile and all that entails.

Terminator Genisys' ambition overrides sense and depth in the pursuit of a new direction, and then unwittingly proves how little life there is left in this franchise.

In the end, Mid90s is harmless and, at times, funny and charmingly nostalgic. But unless you’ve spent the last 25 years lamenting the loss of VHS, Super Nintendo and Nirvana – or are a manic Katherine Waterston completist – then there’s no real need to see this film.

Though the grins, laughter and cheering of the film’s climax is a little too heavy on the sweetness, it’s a harder heart than mine that would fail to be just a little moved by Bunton’s speech about our dependence on one another.

A neat little thriller which unfortunately never achieves plausibility.

An uneven blend of melodrama and the horrors of civil war, it should be anchored by strong leads but instead remains listless and adrift.

The period atmosphere isn't alive with bold ideas as much as decay.

San Andreas' whirlwind of action and devotion to the disaster movie playbook will satisfy those looking for a loud, effects-filled ride. Those inspecting it any closer will find a cookie cutter studio blockbuster which stretches disbelief to its limits.

Jones has great talent as a director, but even with good performances by the cast, Mute is let down by a weak and bland script.

Despite a promising concept and strong production values, Summertime's poor execution makes it one to avoid.

The material is weak, overly familiar and cliché-ridden. Dolan throws the cinematic sink at it but his latest feels like a shorter, not particularly watchable sequel to August, Osage County.

An entertaining-enough survival romp that at only 90 minutes long feels oddly slack.

Both leads produce solid performances despite a sloppiness in both the direction and the writing.

Sadly, Love and Thunder proves that it’s possible to have too much of a good Thor.

Budgetary restrictions offer a narrow visual scope which isn’t helped by the plodding, stagy pace (maddeningly slow at times).

Hughes' sequel fails because it makes no attempts whatsoever to rise above its predicable formula, even with the new cast additions and a promising director.

It soon becomes difficult to dismiss the suspicion that Goldthwait had set out to make a comic horror but forgot to insert any laughs.