Horrible Bosses 2 is by no means an atrocity, but it's tired and unexceptional, which is perhaps worse.

As far as holiday films go this is perfect for lightening the holiday hangover but ultimately it's equal parts onerous and energetic, overreaching in its attempt not buckle under the weight of previous iterations.

Everything looks incredible, but the players are all just ciphers for ideas that Snyder lacks the wherewithal to execute.

Adapted by Cianfrance himself, The Light Between Oceans feels overly tied to its previous form.

Despite its manifold flaws, Jackie & Ryan is still oddly watchable.

If for no other reason than its place in comedy history, Here Comes Mr. Jordan is interesting, if dispensable viewing.

There are the occasional moments when Bushwick lets on that it knows that this is all truly awful.

The comedy is never hearty enough to be truly enjoyable, only managing a chain reaction of titters at best.

Set in early 1970s Chile, and prefaced with archival footage of the final days of Salvador Allende's presidency, The Colony paddles indecisively in the unspeakable ills of the Pinochet era without ever really taking the plunge.

Racer and the Jailbird is a stylish, often promising film, but sadly one that never coheres into genuine drama.

Gordon-Levitt is perfectly fine as Snowden, getting the voice and cadence fairly spot on and he looks almost right. The problem is that he's such an introvert and blank slate - that's pretty good for espionage but not especially compelling for a character arc.

The problem is that Apocalypse's highlights feel like moments of serenity amidst two-and-a-half-hours of lumbering, inconsequential chaos.

Looped around a paper-thin narrative that makes hardly any sense, Secret of the Tomb displays signs of fatigue right from the start.

A documentary that poses more questions that it answers can intrigue and beguile but there are vast areas in We Are X left crying out for further exploration.

The Wait consistently defies common sense in order to sustain the thin narrative.

Your appreciation or otherwise of the film is going to be greatly influenced by whether or not you’ve seen the original, and as such Final Cut doesn’t really elbow its way to the front. However, if you can stand the slight whiff of decomposition then this deconstruction is fun and clever.

Despite its claims to zaniness and colouring outside the lines, probably the most damning indictment of the silly Suicide Squad is that it's unrelentingly bland.

Wilde has already proven herself as a director with her brilliant debut. Even the hackneyed sci-fi concept behind Katie Silberman’s screenplay wouldn’t have been too much of a problem if it wasn’t for the performances.

Sadly, despite some cultish potential this aptly-titled debut feature is indeed a lost cause: an incoherent, undisciplined and tedious mess with little about it to truly recommend.

Penn's film doesn't entertain greatly nor does it have much coherent to say.

In a film about resurrected dinosaurs, suspension of disbelief is mandatory, but the script’s illogical nonsense and flat, cartoonish characters compound on each other until any audience goodwill has evaporated.

As much as the sequel aches to remind audiences of what they liked first time round, it struggles to establish itself as its own unique entity.

Ultimately, the attempt to over-deliver on themes leads to a serious under-delivery of dramatic impact. This is a disjointed film, inexplicably a classic for some, that fails to engage with modern audiences.

Even Lavant's brief cameo as a roving theologist towards the finale can't spark the disappointingly bland Michael Kohlhaas into life - surely the most damning indictment of all.

A basically entertaining, but flimsy and shallow object, The Flash may not be the final entry in this long-beleaguered franchise, but it might as well be.

The jokes are far from fresh, yet the shock laughs are on a par with their inaugural outing and will undoubtedly appease fans of the original.

In many ways this is an adult Frozen with Gothic sensibilities by way of The Lord Of The Rings, making for a derivative pastiche of the past two decades' cinematic fantasy offerings.

Run All Night's saving grace is, unsurprisingly, its lead actor who remains as watchable as ever despite the material he has to work with.