Uneven, occasionally unsavoury and at times frustratingly muddled, but there’s enough bloody, ’80s-style fun in The Predator to give it a pass from long-term fans.

Unexpectedly raucous comedy which trades off a few laughs for an interesting religious spin. Jordan can thank his lucky stars, but give himself a massive, stubborn pat on the back while he's at it.

This gritty sci-fi is undeservedly neglected and underrated.

The first of the silly VW Beetle with a cute personality comedies, is as childish dated and occasionally sweet as the others.

A sequel confident in what it's about - bigger, better, funnier, without stretching the joke.

Certainly crude and unrefined are among the adjectives that apply to this sex farce, along with derivative and shallow. Most important - and perhaps, sad -of all, is unfunny.

Van Damme once again bends and twists his muscular frame to superhuman excess, but his Belgian tonsils have all the flexibility of the Himalayas when it comes to splurting out his one-liners.

The Real Blonde has lost that certain something that earmarked DiCillo's earlier, more offbeat outings, resulting in a film which is pleasant rather than innovative.

It has about as much depth as a floppy disk, but some lovely, shiny CGI and a stunningly ear-shattering score from Nine Inch Nails makes for a fun if forgettable bit of futuristic fluff. Bio-digital jazz, man!

A fable that leaves us unenlightened at the end, it is a curious, worthy failure.

At times is heartbreakingly sad -- maybe not quite Bambi territory, but certainly moving in its own cute and furry way.

Less fun than last time and oddly unpleasant in its tone. MacFarlane takes potshots at everyone he can find, while shielding the two characters that deserve it most.

The tension revs along nicely and - if you're not heisted out already - there's some suspense to be had.

Chucky's smartest, sharpest outing yet.

Smart, tough and a little bit cool, this is an intriguing opening rather than a slam-dunk in its own right, but the cast - and especially Woodley - make it sufficiently diverting to merit a place in the action franchise ranks.

Sophisticated, adult thrillers are few and far between, and Mothers’ Instinct fills the void admirably. With vivid, striking imagery and top-notch production design, the film paints an exciting, moreish portrait of psychological intrigue.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.

If you can stomach the wobbly lessons, the sometimes clunky writing and the offensively bad Irish accents, this is a perfectly fine thing to pop your kid in front of for a couple of hours.

It’s not for everyone — and should prove more divisive than Host — but Rob Savage, Gemma Hurley and Jed Shepherd have done it again. Grab several friends, and prepare for a chaotic ride.

A satisfying and grown-up flick that boasts all of James L. Brooks' strengths. It's good to welcome back a unique, low-key voice.

Charming and effective feel-good fare.

Still creepy, ooky, mysterious and spooky, but trying to follow the storylines is like sorting spaghetti.

Radcliffe menaced by a hostile bush is far more entertaining as innuendo than actual drama. What might have been Deliverance in the tropics is rather a Dan versus wilderness yarn.

Ridley Scott finally gets to put Cormac McCarthy on the screen. It’s no No Country, but despite its less successful elements is shocking, powerful and — this just in — more gorgeously written than any movie you’ll see this year.

Despite its aspirations to big-screen scares, this delivers more kitsch than a truckload of glow-in-the-dark skeletons.

It doesn’t always successfully balance its comic and poignant tones, but yet another powerhouse performance from Olivia Colman makes Joyride a disarming experience.

If weapons and wizardry get your blood up, and you prefer your movies dark and brooding and minus the sandals, Solomon Kane fits the bill. It may lack The Lord Of The Rings' majesty, but Robert E. Howard fans will lap it up.

Joining the ranks of Sphere, DeepStar Six and Leviathan as soggy Alien do-overs, Underwater finds a few tweaks to the monster play book, but not enough to make it live.

It rarely makes sense – the script vastly overestimates the power of the hashtag as a weapon of mass destruction – but you’re never bored.

It's not big and it's not clever, but it's very, very funny.

Brando rocks the boat with his dodgy accent and lowers the tone as history gets rewritten as vanity project.

More shallow than The Shallows, and lacking the depth of even Deep Blue Sea, this has chuckle-worthy moments but will be forgotten roughly 47 metres down in the lower-echelons of shark cinema.

Escape Room is like The Crystal Maze with more death. It’s fun at the start then loses its way, but it’ll do until ‘Flossing: The Movie’ comes along.

Good intentions, vivid setting and TLJ on top form do not make up for a lack of anything truly compelling.

It’s a different kind of Tomb Raider, certainly. But for an adventure film, it’s disconcertingly dull.

There's more here for the under-tens than over-, but it's still charming, amusing and energetic enough to win you over.

Making a killer-doll movie out of decent component parts should have been child’s play, but this misses the mark.

The Ocean’s Eleven: The College Years mood makes for a breezy good time, even if there is, like Vegas, precious little substance beneath the glitz.

Dylan Southern’s film lacks the complexity of Max Porter’s book. But there are strong scenes, and Cumberbatch delivers a performance to crow about.

Unrelenting, unremitting, a brilliant broad-brush of a parody.

Despite some warm performances, it’s very hard to ignore the feeling that this is largely just two hours of product placement.

It's just not quite as much fun as it should be, despite Pearce's best efforts and some good chemistry with Grace. Unusually for an action thriller, this could have benefited from being just a little longer.

Whatever his intentions, the finished product is about as deep and meaningful as you’d expect from a work starring the Man Who Is Clark Griswold. Which is a good thing really, as, uncomplicated, genuinely funny comedy players are thin on the ground at the moment, and it means Memoirs can carry off the semi-slapstick, borderline-cretinous gags with pace and panache.

Dump thriller which trivialises the subject matter.

Fun in parts, and Stallone's always watchable, but it's an '80s tribute movie that coasts along on rapidly diminishing goodwill. Beige Heat, if you will.

Breaking the golden rule of thrillers - don't let the audience guess the ending from 15 minutes in - this just becomes largely pointless.

As bad as cinema gets.

Affleck's meta-satire riffs amusingly on celebrity culture without hitting too many faux-doc highs.

Adapting a relatively uneventful short story was always going to be tricky, and despite some strong performances and wry observations, Cat Person’s disastrous ending takes everything else down with it.

It's the thriller aspect that most lets the film down, failing to truly engage or offer enough plausible red herrings to send your mind whirring through different theories as to what could have happened. The twists rarely, if ever, have the impact that were intended.

Like "There's Something About Mary," Orgazmo has a very sweet love story at its core, although it's more consistently entertaining, blending some outrageous moments with a surprising degree of restraint.

More entertaining than "The Da Vinci Code," but still tosh.

Despite being not officially a Bond film this is good solid, entertaining action.

Lambert fails to convince as the action star and somehow it is left to a computer to steal the show.

It's less a film than a series of skits exhumed from the Reynolds original.

It may not truly capture the complexities of its source material but One Day is funny, winning and entertaining - if little else.

A slick, enthralling look at the life of Vallanzasca but fails to truly get under his skin.

An otherwise mundane rom-com that doesn’t know how to handle its one point-of-difference; and even that isn’t as much of a big deal as its writers think it is.

Karukoski’s entertaining film boasts flair and narrative ambition, but ultimately fails to completely break free of its traditional biopic frame.

Structurally it’s a bit ragtag, but, as your mum would say, it has its heart in the right place. For all its wilful oddness it’s enchanting, imaginative and genuinely moving.

Occasionally charming but mostly bland fare from Weitz, despite the reliable cast. About A Boy remains the best showcase of his talents.

It’s not the fault of either star, but the half-baked script makes this an unsatisfyingly thin exploration of the weighty themes it seeks to cover. More intellectual cut-and-thrust and fewer flashbacks would have helped.

Liam Gallagher: As It Was lacks the narrative shape and drama of previous Oasis doc Supersonic, but provides an interesting snapshot of an artist in transition, both professionally and personally.

Quantumania isn’t as wacky as it should be, and the humongous stakes feel oddly small. But where else do you get a wild Jonathan Majors, an intense Michelle Pfeiffer and talking broccoli?

An old-school film about an old-school crime that brings together an impressive array of British legends. Solid, but sadly the results don’t exactly blow the bloody doors off.

Though it might charitably be described as "a load of old cods", there is a certain entertainment value to Murder At 1600.

Very hit and miss and not a patch on the first spoof but when a joke strikes home it'll have you going for a while.

As a stylish black comedy its uncompromising nature should be applauded, though as an indictment of the hopelessly violent American society, the message gets lost.

A sentimental but solid dependable retelling of an oft-told tale, it doesn’t do anything radical with the material but gets by on well mounted set-pieces and Ford’s grizzled gravitas.

Pugh is superb, while Wilde confidently steps up to a bigger subject and budget to deliver a slick, beautiful film. It doesn’t quite stick the landing, but its flight to that point is fascinating.

I Feel Pretty is an intermittently funny vehicle for Schumer’s talent that never really gets to grips with the ramifications of its high concept. Its heart is in the right place, but its head is somewhere else.

Two compelling leads and a mix of adventure and romance. It’s a pleasant experience, if not one that will linger long in the memory.

Nothing Landis can do makes up for a limp plot bolstered by distinctly Cannonball Run-ish car smashes and an irritating sprog. And the movie's not even out in the year 2000.

Despite the odd rip-roaring tune and some sturdy performances, this yuletide tale is as memorable as last year's sprouts.

This energetically charmless 'family' fantasy lies there dead on screen, occasionally twitching at a funny line.

It's all totally farfetched and skates imperturbably over several questions of logic that will spring unbidden to the most accepting mind. But it's entertaining, inconsequential fun.

You’ll long for a slightly smoother animation style (Pixar won’t be quaking in their boots), but this surprisingly fun yarn will undoubtedly have youngsters reaching for the nearest guitar.

This spoof vampire flick's sole joke is that the heroine (Kristy Swanson) is a blonde, L.A. airhead rather than a beefed-up stake-toter, mentored by Donald Sutherland's deadpan Watcher.

Despite good moments and likable leads, this lacks both heart and humour in a confection that smacks of the over-familiar.

With its infuriatingly dim-witted characters and generic slasher movie feel, The Strangers: Prey At Night is a surprisingly tame and forgettable rehash. While its superior predecessor managed to boast chills, this only boasts clichés.

A patchwork of a movie that ultimately knows where it's going, but doesn't really know how to get there.

A turgid action sequel that loses sight of plot and characters in its humourless efforts to impress.

An interesting new take on a very well-known tale and a praiseworthy act of revisionism, but one which doesn’t ultimately deliver on its early promise.

Globe-trotting but not adventurous, action-packed but not remotely exciting, utterly overstuffed and completely paper-thin. Nuke it from orbit.

Although the vocal performances often amuse and delight, the overall design is charmless.

It’s well designed and shot, but in service of a story that never coalesces into something intelligent or compelling.

Lazy but functional tween fare.

Slavishly follows every rule of the kids’ fantasy franchise genre, but it’s a well-executed and imagined world. Bet the sequel’s darker.

Resembling a kids’-birthday-party remake of 1973's The Legend Of Hell House, this suffers from being not that funny or spooky. Its saving grace is a cast you’re happy to spend time with.

Willow is not without its charms - the effects are more than special, the set-pieces suitably epic but it just doesn't fulfill the promise of certain other fantasy films.

Domestic chills, body horror, paranormal scares and gore-drenched action combine in a very distinct but rather uneven — and at times contentious — take on a classic monster icon.

John Waters was way ahead of his time with this corruscating '70s vision of small-town Americana.

Carrey's back on top slapstick form and brews up great chemistry with Leoni.

Not fractionally as clever or as fast-paced as the television series upon which it's based.

Mildly amusing at best and a criminal waste of a great concept.

While the characters sometimes feel roughly drawn, the casting is spot on.

Sir Richard Attenborough's long-in-the-making account of the life of Sir Charles Chaplin is a film you desperately want to like, but it emerges as a big, shiny, old-fashioned biopic that ultimately fails either to illuminate the genius of its subject or to excite as a story.