A fun blend of scares and sentiment, this largely justifies a lengthy run time with effective frights and a valedictory feel. Just don’t watch it before trying to clear out the attic.

Arnie's toe-dip back into the action-cinema pool is a daft bit of fluff rather than a bruising mission statement. Get through the plot and you'll be rewarded with 30 minutes of whirligig mayhem.

The Kids Are All Right writer Stuart Blumberg's first directorial effort is a frothy affair with typically strong turns from Ruffalo and Paltrow.

It’s not quite as fresh or fun as the first film, but P.S. I Still Love You still has plenty to love about it – not least another loveable performance from Lana Condor.

Billie Piper’s ambitious, darkly funny directorial debut suggests the arrival of a new filmmaker with a vision, verve and a voice.

Some summer anti-programming arrives in the form of a highly talky, at times upsetting prison drama — think Fortress meets Limitless. You can feel the strain of its expansion from novella form, but it’s just about worth a visit.

Snyder’s Justice League is an entertaining if overlong superhero flick in its own right. If this is the last DC film Snyder directs, it’s a satisfactory exit.

Breathing new life into the overfamiliar terrain of the serial killer, Irish director Billy O’Brien here both successfully reintroduces Max Records to the world, and elicits Christopher Lloyd’s best performance in a long time. His film deserves cult classic status at the very least.

A step back from the last film in terms of ambition, this nevertheless continues the series’ chirpy, amiable mood. Nothing to be po-faced about here.

Much more than a tits and arse farce, this is an enjoyable, if lightweight effort.

An auspicious debut for Scott, but one whose ingredients are too familiar to really fizz. Green is great, though, in a dark-tinged role that plays to her strengths.

A few memorable scenes but this doesn't keep up the pace or plausability sufficiently.

Entrapment ambles lazily through its set-up and features only one (admittedly impressive) stretch of white-knuckle daredevilry as our heroes dangle off the tallest building in the world (which is in Kuala Lumpur, incidentally).

Half "GoodFellas," half "Dreamgirls," Jersey Boys is an appealing take on a grit-to-glamour biopic. What it ultimately fails to do, though, is convince.

Handsome, well-mounted but dull, dull, dull.

Ultimately, Hidalgo falls down due to a neglect of basic story elements -- anonymous villains, a hero with no clear goal other than money, love interests who sound alternately gin-sodden and lobotomised -- and after a brief burst of energy staggers home at a mild limp.

If you can see beyond the eye-scorching neon and don't mind the desecration of a superhero icon, there's a few crumbs of enjoyment to be had.

A beautiful, exotic and well-acted cultural hybrid, but it’s never as moving as it ought to be.

This is enormous fun, one of the best TV adaptations to date, and guaranteed to provoke a nostalgic misty eye and mischevious grin in anybody who's ever owned a crimplene tank top.

It never scrapes the heights of Jackson’s trilogy — few do — but amid a messy meeting of worlds, there are stirring moments.

Hill remains a master of action pieces and is even director enough to get strong performances from his bunch of dressed-up pop stars. But this supposed sure-fire thriller, from a script that was called The Looters until the L.A. riots got in the way, fizzles like a Molotov cocktail with a soggy fuse.

Life stinks, Brooks' character stinks and the film, after all the Brooks magic in the past, stinks.

After the success of Wayne's World, much was expected from Myers and this is a distinctly average comedy which failed to deliver. He is enjoyable as the neurotic Charlie as well as his father but the concept itself is just a little too unconvincing.

It’s uncomfortably the work of someone who thinks mass murder is cool and has no feeling for regular humans.

True to the Jackass formula, some gags come off better than others, but there's some doozies in its midst.

A witty and touching father-son tale. And at its centre: a startling debut from Will Tilston, whose compelling performance ensures its emotional moments land successfully.

Pretty as a picture, but emptyheaded as hell.

More The Magnificent Seven than American Sniper, this flag-waving true story is an effective — if overly simplistic — neo-Western that's eventually carried over the line by a sparky ensemble cast.

It has great performances, snappy one-liners and a likeably tricksy structure, all wrapped up in an affirmative antidote to life’s daunting complexities. Welcome back, Woody.

Greg avoids the curse of the three in the third outing for the Wimpy Kid. Hardly groundbreaking but plenty of fun for its target audience.

Although downbeat, this celebration of the US military is done so expertly you forget that at the time it is set Coppola's idea of a great film was You're A Big Boy Now.

A patchy, hit-and-miss comedy with a few outrageous highs and a lot of just-okay padding, Brüno suggests that Sacha Baron Cohen's in-your-face fool routine sadly isn't working any more.

Scruffy and overstuffed, but contagiously good-natured. And frankly more films need to feature showdowns at abandoned alligator-themed amusement parks.

An exuberantly bad-taste ode to our poochy pals. Dumb & Dumber, but for dogs.

Despite a plot that should be simpler, Get Smart is as big on action as it is on laughs and works because it?s less a tired spoof and more a quality comedic adventure movie in its own right.

Alicia Vikander gives a graceful performance and the lavish period production shines, but unfortunately this is more fizzle-out than fire-starter.

With a sharper focus on race and plenty of real-life horrors to draw from, Gerard McMurray brings a fresh perspective to this splashily satirical prequel. If only its action was as punchy as its ideas.

A monumentally misconceived sequel, Escape from L. A. is the huge, shonky blemish on the magnificent history of John Carpenter and Kurt Russell.

Despite a second act lull, Connolly convinces in this cute and charming comedy.

Eddie The Eagle turns a long-running joke of British sport into a crowd-pleasing story of inspiration. It’s a solid gold winner.

McKellen has fun as the bitter, biting Erskine, but the plot takes so long to come together that at times he’s the only thing holding the audience’s interest.

M3GAN 2.0 is more absurd, self-aware silliness: a riot of timely tech paranoia, with almost no horror but a ton of successful comedy. Slay, queen!

A remarkable ensemble in an uneven patchwork of loss, longing and the urgent necessity of a societal rethink.

Time will tell if it’s worthy of being talked about in the same breath as Easy A, Clueless, Booksmart and the like, but Amy Poehler’s teen comedy is smart, funny, likeable and winningly performed. Moxie by name, moxie by nature.

Lewis Gilbert, and two career best performances from his leading actors, give this film such energy it leaves the pleasant aroma of life and possibility.

Despite an impressive bag of special effects tricks, old Fred is starting to resemble one of those dead horses that studio execs insist on flogging.

Adorable. Ad-or-able. It will melt even the coldest heart.

A key film from the movie brats-era, and quite possibly Milius best.

But for the most part, what you have here is a topnotch filmmaker getting back to basics and really delivering the goods.

Kosinski has again built a fantasy world that feels real to its core, but once more put most effort into the scenery and too little into the people.

It’s unexceptionally filmed and occasionally clunky, but this is a gently heart-warming underdog story, and Turner shows real star-power in the lead role.

Better in conception than execution, Spies In Disguise never really gets the best out of its James Bond Is A Pigeon high concept. The result is entertaining while it lasts, but won’t lodge itself permanently in your memory bank.

A solid if fairly derivative attempt to steal Disney’s thunder. There’s enough pep and vigour here to keep kids interested, if not quite enough for the grown-ups. 

Despite a familiar, somewhat tedious set-up, Greta truly comes into its own in the final act, a ’90s thriller throwback elevated by Isabelle Huppert tearing up the scenery and dancing all over it.

Looking to cast a spell of its own, The Craft: Legacy tries some new tricks. It’s just a shame that for all the worthwhile additions, it’s sometimes more toil than bubble.

While still a lurid sequel to a ropey slasher movie, Orphan: First Kill is refreshingly clever, unpredictable and gruesome. Isabelle Fuhrman’s Esther deserves three more sequels and a ‘Versus’ movie with the Stepfather or Chucky.

A brainless, bombastic, bomb-tastic action romp, this is absurd on almost every level, and far more fun than it has any right to be.

Somewhat dated now but still occasionally gripping.

Lawther’s a charismatic, uncompromising lead, and Billy’s campaign is an inspiring one, but this sometimes settles for broad strokes of heroism or villainy where more subtlety would have increased its impact.

The three lead characters end the film as isolated as they began it. As with the plot, there isn't quite enough in the throwaway humour to hold them together.

It’s a great premise but, over-populated by dull characters and a flat feel, Cocaine Bear is sadly a party animal that never gets started. Not quite a coke zero but close.

Moore just looks confused. He obviously wants to do his thing then hit the bar for cocktails, but John Glen is nagging him to add a roughness to the slick exterior. Equally, it just doesn’t fit. The news is clear, there’s only so far you can push a Bond before it breaks.

An odd one. Rogen's latest clown is an angry, confused man who you never feel entirely comfortable laughing at. There are laughs -- you'll just feel guilty afterwards...

A small but neatly formed horror oddity that prises suspense out of a familiar parental worry: is the person my child has fallen in love with who they say they are?

Slick but forgettable, Fuqua’s suicide squad is a macho posse movie that could use a jab of fun. It’s The Magnificent Seven, but the “magnificent” is silent.

An intelligent, sapphic-tinged and superbly acted rural thriller with Moore, Sweeney, Gleeson and Shaw all on fine form, only slightly dampened by some blatant product placement.

It has a few laughs and some stylish outfits, but this is unfortunately a shallow prequel, one which fails to breathe new life into the Hunger Games franchise.

A throwback thriller which brings nothing new to a crowded genre, and has little to say along the way. They don’t make ’em like this anymore, and, to be honest, they probably shouldn’t.

Perhaps not as heart-warming or charming as the first film, The Railway Children Return is engaging and entertaining in different ways, winningly played by its fresh cast.

Although the broad comedy of the first half soon gives way to a tidal wave of entirely uncalled for sentimentality, this is still a laugh riot - the sight of our hero setting fire to his falsies never fails to amuse.

The depth of talent in the cast and gag writing shines through, but it’s only just enough to take your mind off of the flat animation.

Serviceable action thriller than unleashes John Milius-style guerilla setpieces without the impact of John Milius-style budgets.

More potent as a cautionary tale than future noir, Anon’s digital dystopia certainly gets a Like, even if it doesn’t quite warrant a Share.

Superbly adapted with blistering performances from Taylor and Hepburn.

A smart script, edgy acting and a gradual accumulation of suspense set-pieces makes for a decent popcorn high.

William Eubank continues to work his particular mind-stretching mix of acute character interplay and cosmic conceptual breakthrough.

It means well, but it's all just a bit too tired a formula - even by the standards of a kids film. Put this one in the top field to 'rest'.

You end up with this perky but pointless rehash of the cute alien format that became embedded in the late ‘80s.

This stripped-down chiller has some decent jump-frights, but a dearth of memorable moments.

Easily the third-best Terminator film, which is more of a compliment than it sounds. It’s great to have Hamilton back in this role, but she’s ably matched by Reyes and Davis.

Not even the considerable talents of the ever watchable Naomie Harris can elevate Black And Blue above the broad and generic. The result is sadly aggressively formulaic.

It must be hard for actresses as unconventional and gutsy as Weaver and Hunter to find scripts worth making. Although this offers them both meaty parts with plentiful neuroses and snappy lines, it is otherwise a completely mechanical load of old cods.

Good fun, but O'Nan doesn't take this film nearly as far as it could go, leaving the plot and its characters somewhat two-dimensional in their obvious stereotyping.

A well-put together team performance, with enough in-jokes and self-effacement to steer clear of any detours into bad taste.

Like LaBute's best work, this tense drama is not for all tastes, but anyone game to watch two effortlessly volatile and vulnerable performers trade barbs for 83 minutes ought to give this due consideration.

It’s hard not to get swept up in some evocative, gorgeously staged filmmaking here. But Empire Of Light often seems a little confused about what it is trying to achieve.

There is some nice insight into cycling-team practices, but overall The Racer lacks sufficient nuance, specificity and originality to nab the yellow jersey.

Considering the ignominy of its path to British cinemas, it’s hard not to approach the film with caution, but after a few minutes in the company of an unusually low-key but typically world-weary Al Pacino, it begins to win you over, dragging you deeper into the sleazy political underworld it describes.

The romance between Knowles and her leading man doesn't quite spark, and cutting 30 minutes wouldn't have hurt, but Saturday night disposable fluff is rarely as warm-hearted or exuberant as this.

Schumacher is never quite smart enough to keep the debate neutral, and the unrestrained hero worship at the close leaves a nasty taste.

John Woo’s first American film in 20 years is not the filmmaker at his peak — but it has its moments, with energetically filmed action enough to distract from a melodramatic tone and sometimes silly concept.

Not a masterpiece, by any stretch of the imagination, but it's pleasing to see a sequel strive so hard to reach the same heights. That it fails is through no fault of its own - the original simply raised the bar too high.

It’s a lesser Jarmusch, yes — but it’s still a Jarmusch.

Red Dawn is at once a mainstream shoot ‘em up action picture and an ideologically demented exercise in American paranoia.

Derrickson bounces back from his insipid redo of "The Day The Earth Stood Still" with an effective chiller that's got a skeleton or two in its closet.

While it meanders on its way to the requisite happy ending, the lush, stylised animation and courtly flourishes would win over anyone.

Sadly Lewis lite and not without flaws but this is as Burtonesque as one could wish for, a real treat for fans of his twisted imagination and great British character actors.

An enjoyable World War II spy flick, Munich: The Edge Of War scores with strong performances and filmmaking craft, but is let down by a lack of dramatic heft. A Father’s Day watch in waiting.