Sloppy crime epic.

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.

Covers disappointingly predictable territory for an actor of Ford's skills and reputation.

With so many high standing peers (both contemporary and classic), it just doesn't have the muscle or the nous to make an impression.

The humour, when it comes, is on a par with Reitman's Ghosbusters, but the film feels, rather than the solid comedy it is, like a massive missed opportunity.

Apart from a couple of nice touches - like a faked orgasm scene that's almost as off the wall as the one in When Harry Met Sally - mark this firmly in 'Should Have Been Better'.

Gothika never delivers anything more than the occasional, cynically engineered jolt and often drifts close to provoking giggles.

Lopez throws everything at this, but even major movie-star charisma can’t make up for the recycled story elements, tired exposition and endless psycho-babble. Maybe the machines can take over and do better.

WALL•E director Andrew Stanton weaves together three different stories across three different eras of human history. The result is a streaming epic as painfully sappy as it is structurally ambitious.

Nine years on from the first movie but somehow the effects have gone backwards and the charm has gone missing.

Despite an inherently cinematic story and some effective sequences, Escape From Pretoria struggles to transcend a clunky, one-dimensional script.

Greater drama and prehistorical weight are to found in the earlier Quest For Fire or the BBC's Walking With Cavemen, and without so much as a trailer for extras, this feels like a relic.

Where Gambon made the perfect misanthrope, Downey doesn't quite fit the role. Astonishingly, despite his drug-related crimes and misdemeanours, he actually seems too innocent to be so crabby and vile.

Too glossy to evoke real sexual tension or, more crucially in this genre, fear, Laura Mars suffers from the over complication of something so simple as serial killing.

Tense and occasionally disturbing, but somehow you’re left with the nagging suspicion that what should have been a meaty psychological drama has been turned into a slightly insipid thriller instead.

Despite a strong cast, promising premise and a timely attempt to explore male neurosis, Swimming With Men is let down by slight characterisation, by-the-numbers plotting and heavy-handed jokes that desperately need arm bands.

Crazy, Stupid, Love writer Dan Fogelman can't rebottle lightning with a humdrum comedy that doesn't play to its stars strengths.

Slickly produced but seriously stupid, Tournament Of Champions won’t exactly have you running for the exits — but your brain cells might not escape the room intact.

A so-so animated adventure that can’t ever find a compelling story to tell despite a few catchy songs and some colourful design. Maybe some dead things should stay buried.

Unfortunately, half the time this feels more like an Omen parody than a chance to give it a great send off.

The predictable plot and gags make you feel like you’re watching it in cat-years, but there are a few successfully silly set-pieces that will delight kids.

Judged by any rational standards, Rumble is absolute bollocks, but it at least has some pretty darned amazing Chan fight scenes.

Unlikely to win over those who remember the lush vistas and Montalban-powered original, nor appeal much to teens looking for a horror-filled night at the movies, Fantasy Island is distinctly sub-par filmmaking full of clichés and lacking in real entertainment value. No one would call this their ultimate fantasy.

A comic thriller that isn’t especially funny or particularly exciting, The Family Plan is an overlong slog that struggles to make use of its game cast.

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

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

Moonfall is precisely what you’d expect a film called Moonfall to be: deeply, defiantly, sometimes exasperatingly daft. It’s Roland Emmerich on apocalypse-autopilot.

A film based on a game inspired by films that are much better than this one, Uncharted is watchable enough but could have been so much better.

Despite a charismatic turn from Momoa and some fun frenemy banter, this is a disappointing send-off that sees the DCEU go out with a squelch rather than a splash. Fin.

Lacking the style and scares of the better Conjuring movies, Annabelle Comes Home plays its tantalising spookhouse concept a little slow and far too straight.

Cox evidently harbours a profound love for his homeland, and it’s nice to see Alan Cumming and Shirley Henderson speaking in their native Scottish accents for a change. But while it may inspire you to book a Highland holiday, there’s little else to take away from such a soppy passion project.

It picks up in the last hour, though this is a very minor compensation in an otherwise long and listless film.

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

The obvious chemistry and charm of Sydney Sweeney and Glen Powell counts for a lot, yet not quite enough, in a romantic comedy severely lacking in both romance and comedy.

In the Insta age, this paean to body positivity and living your own truth is more than welcome, but you just wish UglyDolls’ message could be more charmingly argued, adroitly assembled and just plain funny.

Outdated and predictable revenge saga.

A movie that's too patently "heart-warming" for its own good, and boasting one of the most revolting title-songs of all time.

Disappointing. Stone whipped this out in time for the US Presidential election, but it’s hard to see how it’ll make any significant impact on voters. Or why it even should.

In her directorial debut, Robin Wright boldly strikes out for new territory, but the film is all too conventionally fenced in, lacking a narrative as compelling as its own dramatic Wyoming scenery.

Sweet, formulaic entertainment, but occasionally clunky.

Despite Oscar-winner Ariana DeBose's best efforts, this fine-dining horror only elicits a few scares. The food looks delicious, and the knife skills are on point, but genre fans will likely want to eat elsewhere.

What fun there is to be had is undermined by drab 3D, hacked-out dialogue and rehashed plots.

The premise promised Regency class and Romero shocks. The results, though, are only intermittently entertaining, and a better adaptation of Austen than a monster mash.

Instead of bringing much-needed clarity, Allegiant piles on yet more bamboozling mythology to flummox and confound.

The film works best when it taps into the chaos generated by the kids, and there are a number of suitably anarchic Home Alone-style set-pieces.

Interesting material let down by the occasionally pedestrian direction.

A romantic-comedy that isn't funny or romantic.

With such a sprawling and over the top plot, it's hard to remain focused on what's important. Bertolucci is so concerned with the epic quality of the film that he forgets to give it any real substance. Reeves doesn't do himself any favours in his turn as the unconvincing Buddha either.

A large step backwards for a promising director and far from the return we'd been hoping for.

There’s trouble in this paradise: bleak without much of a point to make and bloody without any particular reason, this is an odd attempt at satire that takes a fascinating slice of real-life stranger-than-fiction history and somehow makes it less interesting.

Starts strong, finishes dull. The original Flatliners should have had a ‘Do Not Resuscitate’ order attached to it.

Overdone and not particularly tasteful musical stuff and nonsense.

Murphy occasionally does uninterrupted seconds of shtick, but the film is stuffed with cheap sentiment (a kid with cancer), extraneous characters and embarrassing simplistic politics.

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.

Mildly amusing.

It's part satire of the drug-fuelled clubbing scene, part harrowing disability drama -- and almost entirely improvised.

You know Freddy may or may not be finally dead, but he's looking pretty damn tired.

It’s nonsense — but at the very least, well-meaning nonsense.

The acting's better than it's ever been, but with the best will in the world, this can't get past the fact that the story's demented.

Slightly better than its predecessors, Sonic The Hedgehog 3 works hard to entertain — it has the odd bright moment — but overall lacks surprise, freshness or anything to set the heart racing. It’s a Saturday-morning cartoon writ long.

It has its pleasures but after the nuance and emotional hits of Love Is Strange and Little Men, Frankie is a disappointment. Not even la Reine, Isabelle Huppert, can elevate this one.

Neither Bautista nor Jovovich can elevate this ugly-looking misfire. Fans of entertaining fantasy action need not apply. 

Devoted Trekkers will have to see it to keep abreast of the ships’ logs, but Saturday night at the flicks fun-seekers are apt to concur this one only fires on stun.

A few laughs are salvaged due to the sheer quality of the talent present.

It has charm, comedy and a populist concept, but is structurally weak and too self-consciously multicultural.

The whole madcap production is at best faintly amusing, at worst, painfully protracted

The first film to be adapted from rather than into a Nintendo cartridge, Super Mario Bros, is a shrill, hectic and tiresome fantasy with little story, less excitement and no imaginable audience.

The big surprise and highlight is not in the clumsily structured, jerky plot of the monotonous mood but an uncredited Robin Williams, actually chilling as a mad bomber anarchist.

A joyless and pointless remake. The new take on Bodhi and co. squanders a potentially enjoyable premise and rarely delivers, except on the occasional stunt.

Light on laughs, and even lighter on drama, Kyle Mooney’s throwback high-school romcom/tech-horror shifts uneasily between its various modes and tones, but never finds its groove.

It is, in fact, far from funny, although at moments it does touch upon amusing.

Less Tales Of The Unexpected, more Tales Of The Unconvincing, this uneven comedy horror fails to handle its ambitious structure, or deliver on its promising premise.

Lacks the ‘ick’ factor of the earlier Bay-directed efforts, and Fishback and Ramos do a great job as the token humans, but this is still just silly and derivative.

Every motion, from the clamour of the racetrack to the sparring of teacher and pupil, has been worked out for audience satisfaction and grants none. This is not a real film, it is an automaton, a pod-movie, and, thankfully, proved the death nail for such high-concept filmmaking.

Objectively ridiculous but mostly fun, this is better than you could have predicted given the title but squarely aimed at a young and undiscerning audience.

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.

Strong performances and a few laughs, but the story feels lazy next to superior efforts recently in the same genre.

The source material remains affecting and the cast work hard to add dimension to a lacklustre screenplay. But sadly, it adds up to less than the sum of its parts.

While there are fun moments, the whole is an odd mix of grotesquerie and cutesiness.

The astonishing true life story of The 33 deserves a better movie than this. Trite above and below ground, it is not suitable for miners. Or anyone else really.

It could have been a tantalising coming-together of two icons of action cinema. Instead, The Iron Mask feels oddly anemic.

Despite its wild premise — Chris Pratt goes to the future to fight aliens! — and considerable talent, The Tomorrow War is mostly just bloated blockbuster business as usual.

Corny and shakily plotted, it's a disappointing directorial debut from Goldsman.

This is just as unevenly plotted as the original, lacks even the element of surprise, and is not by any reasonable standard “good”. Between gooey and ghoulish, there must be better options.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Sadly the plot leaves a lot to be desired with major flaws never far away. The in-jokes are amusing but their novelty soon begins to wear thin.

It’s uneven and doesn’t quite hit the right balance between yuks and yuck, but the charisma of the two stars – particularly Nanjiani – carries it along. A shame to waste Uwais on such a limited role, though.

There are some amusing moments and some good performances despite the poor material, but it's not enough.

Great houses, shame about the plotting. The sort of glossy nonsense you might happily half-watch on a lazy Sunday.

Ruinously prioritising chic over content, this is intellectually and stylistically shallow when it should have been dynamic and compelling.

Take That have more than enough hits to give this a solid soundtrack, but the story they’re loosely tied to is weakly constructed and far gloomier than the cheery music deserves.

Neil Marshall’s return to his homegrown horror wheelhouse doesn’t reach the heights of Dog Soldiers and The Descent. Instead, it’s a witch-hunt thriller that lacks the texture to be realistic and the no-holds-barred energy to be pulpy. Sean Pertwee has fun though.

"The Karate Kid" meets "Fight Club" but it's no way near as good as it sounds.

Adapted from the Stephen King killer car novel, this John Carpenter film is more like an assembly line vehicle than a customised job, but is nevertheless a slick, entertaining piece of work.

Too childish and shallow for adults, yet too brutal and gory for kids, this is one Damsel that really does need saving, after all.

An overly complicated plot and poorly thought-out characters detract from the flashes of charm that Cap'n Jack still emits. Despite quality set-pieces and the best efforts of the cast, this is dull and crossbones.

Like the stranded astronauts, we are forced to sit around for too long in stale air, waiting for something to happen. An overly-long, vacuous foray into space.