It’s an impressively starry cast, but sadly, this lacks the charm, wit and, yes, magic of the original. You’ll like it, not a lot.

This strict adherence to formula is wearing for anyone over ten, but worse is Lohan.

Fans can console themselves with some disorientating creepiness as half-glimpsed monsters swarm and the fine melodramatic performances. But as the film descends into a babbling wreck you start to wonder whatever became of the directing talent that gave us Dark Star, Assault On Precinct 13, Halloween and The Thing.

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

An ordinary, forgettable horror film. Even the Devil deserves more than this.

While not wishing to be facetious about women and children held against their will in any country, this tearjerker is strictly TV movie for a wet Wednesday stuff.

A bit of an odd one, an action-comedy throwback that doesn’t quite know what it wants to be. Still, it bodes well for Pierce Brosnan’s new phase as a grey-haired action star.

The film strains in two different directions, half trying to stay true to its based-on-fact roots, half wanting to ditch all that and become a ridiculous farce.

Vintage Lee visual flourishes and a couple of chucklesome fantasies spoofing a 70s sitcom and blaxploitation flicks make this more watchable than the infuriatingly pointless content warrants.

For all its originality, O’Dessa can’t help but get tangled up in its own mythology, dragged down by a romance that never sizzles.

If you came for cute canines you’ll get them, but you’d get more entertainment from an hour of dog videos on YouTube.

Hugely impressive musical and dance performances from the two young men playing Michael Jackson cannot shake off the uncomfortable fact that there is an entire other side to the pop star’s story which is entirely conspicuous by its absence here.

As a light family sports feel-good this works but don't look for anything more.

Even when supercharged by Kirby’s unwavering star power, this distractingly muddled stab at social commentary baked into a hardboiled thriller lacks the momentum to make it to the morning.

Despite the stars best efforts this is neither funny or original.

While this may not quite be a stake through the heart, Wes Craven's curious mix of the comic and the horrific is another nail in Eddie Murphy's career coffin.

A sadly lightweight spar through rule-breaking cop conventions that doesn't utilise it's star's bulk to any great effect.

Not the return to form you might have been hoping for. Its story might cover all the same beats as the 2003 original, but there’s little of that film’s spark or spirit.

Destined to be a big drinking game — take a sip when Broadbent bites his sandwich — but little else, this feels like a major missed opportunity.

Fitfully funny but failing to really build to much of anything, The Boss is mostly a bust. Even its main character would have a hard time buying it.

This is supposed to be serious hard-hitting but with most prehistoric depictions, only manages either school reconstruction or parody.

A great cast is let down by a script that fails to provide a compelling mystery to solve. Never mind as a big-screen production, this would be disappointing as a BBC mini-series.

Terrible, but not worth getting worked up about.

Lacking anything approaching originality, The Hitman’s Wife’s Bodyguard is a generic, by-the-numbers action-comedy sequel. Praise be for Hayek, who at least gives it gusto.

Plenty of shock and gore, and David Harbour is more than worthy to wear the horns. But this is a reboot in need of a reboot.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

Inspired by The Graduate it may be, but despite Aniston’s charm, this confused comedy will not be seducing anybody.

There are some engaging moments, but director Ken Kwapis fails to achieve a distinctive tone.

Spencer and McCarthy are the superheroes we deserve, but are capable of so much more than bowel-movement jokes in this tepid and formulaic buddy romp.

Top marks to Joan Cusack for her excellent supporting turn; commiserations to John Corbett as one-dimensional objet désir Pastor Dan -- unhappily saddled with the most tragic line to reach mainstream film for years.

A winning double act never quite gels in a fish-out-of-water road-trip caper — think ‘National Lampoon’s Gringo Vacation’ — that leans hard on its stars’ charms and very lightly on coherent plotting.

Occasionally dynamic action and an incredible cast can’t ultimately save this muddled, derivative film. And please don’t call it ‘Jane Wick’.

A strong cast can’t rescue the repetitively crude and recklessly derivative material. Mike and Dave need a lot more help than in merely finding wedding dates.

An erotic thriller that's strangely unerotic and devoid of thrills, this is, however, mercifully short at 100 minutes.

Director Alan Taylor handles the big action adeptly as he did in Thor The Dark World, but the script is an ever-decreasing cycle of tool-ups, chase sequences and daft monologues.

Zemeckis’ old-school romance has its moments and Cotillard gives it her all, but it lacks the zip and chemistry to truly spark.

Violent, silly, embarrassing, clumsy, confusing, juvenile, occasionally offensive, occasionally a little bit fun.

Hope may float, but this bore flounders beyond salvaging.

It starts off well enough but slowly sinks under the leaden weight of its worthiness.

Somewhat dated now but still occasionally gripping.

Suburbicon is a strange beast: a by-the-numbers ’40s film noir bolted to an unsatisfying ’60s racial drama wrapped up in a ’50s Americana satire. A strong cast and talented director never make the whole add up.

An on-form Jim Carrey can’t stop Sonic’s live-action debut from feeling like a missed opportunity. If the teased sequels do materialise, here’s hoping the storytelling levels up.

Tom & Jerry: The Movie joins Garfield , Yogi Bear and The Smurfs as misfiring attempts to combine popular ’toons with live action. Our kids deserve better. They deserve Tom & Jerry 1940-’58.

While this combination of Michael J. Fox, light comedy and uncomplicated values must’ve looked fine on paper, on screen it doesn'’t quite make the grade.

A mirthless shot in the dark that misses the target by some distance.

An action comedy without any action or comedy – not even The Rock’s charisma and enthusiasm can save this dud.

These bosses cannot justify either murder or lasting comic memories, fatally compromising a farce that could have been great but ends up merely mediocre.

Despite an intriguing premise, an impossible-to-buy plot contrivance and a deeply unsatisfying ending put paid to this sci-fi psycho-thriller.

A handsome period drama with the occasional impressive flourish, but despite its rich subject matter, it's Affleck’s weakest film yet as a director.

Everything from the style to the casting feels grubby and worn.

Cute and friendly enough, but for anyone over eight, not recommended.

An unsuspenseful thriller with shades of "Death Wish." Nicolas Cage's return to New Orleans doesn't even have a hallucinatory iguana to recommend it.

It does become marginally less cringe-making in the latter half, but aside from a hilarious set piece involving a cat/tranquilliser dart interface and a vaguely entertaining Russian Mafia subplot, this is tired stuff which should have stayed at home.

Disappointingly dull account of a tale desperately in need of a sharper screenplay and some directorial vim. Might as well wait for the Blu-ray, Jules.

Most of the people who see this will own funnier home videos of wedding disasters.

Although replete with creepy shocks, this lacks the narrative finesse to match the committed performances and slick visuals.

The characters might physically appear rounded, but are otherwise paper-thin.

This is a leaden mess that offers only brief moments of respite.

Attempting to encompass too many genres dulls the overall effect but this still commands a certain fascination.

Greg Berlanti’s revisionist comedy offers a fresh take on the Apollo 11 moon landing, but its convoluted conspiracy fails to capitalise on the charms of Johansson and Tatum’s workplace romance.

Despite an above average cast and interesting use of the Catholic angle, this film just isn't quite scary enough for hardcore horror fans.

This overambitious, flawed feature debut is simply trying to do too much. It lurches erratically between genres and themes, resulting in a muddled story whose reach exceeds its grasp.

Despite the presence of four credited screenwriters, the plot is a rehash of cliches and tired jokes.

Reasonably entertaining but hectic (supposed) finale for the up-and-down series.

Featuring strong work from LaBeouf, Man Down is a fascinating example of how a powerful performance and good intentions can be derailed by a misguided concept and flawed execution.

Touches on some interesting philosophical ideas, but it's poorly-produced and unclear in tone.

A Street Cat Named Bob has its heart in the right place but doesn’t quite land on a tone to unite hard hitting drama and a cat-based comedy.

Guilty, with one or two mitigating circumstances.

If this tiresome yarn is the ‘true’ story of one of Disney’s most popular villains then, please, give us colourful lies and happy ignorance.

A little muddled and derivative but what do we expect, really?

Amsterdam suffers from a surfeit of story detail without the vigour to whizz you through it. It has likable leads and the craft is on point, but the result, given all the talent involved, is a tonally uneasy disappointment — a romp that fails to romp.

An occasionally interesting but over-stretched attempt to recount Putin’s rise to power, best appreciated for the few moments in which Jude Law appears.

Terrence Malick’s Hollywood tale is a frustratingly fleeting experience, a sleepwalk through Tinseltown that beguiles you with its visual artistry but leaves only the faintest of impressions when the curtain falls.

Director Yang Joon-hyun works scrupulously from the Hollywood serial murder playbook, and delivers something which does its job, even as its last reel flounders with several too many plot twists, but has no particular reason to exist.

A fascinating life is reduced to a series of skittishly edited and visually stylised vignettes that do scant justice to Marie Curie's scientific achievements and Karolina Gruszka's laudably intense performance.

The third Cloverfield film is just about a Cloverfield film, but definitely a disappointment, trading on its name but not living up to its already muddled heritage. Only intermittently fun.

Almost certainly the second worst thing to happen to Bruce Lee, this toothless and tame movie doesn’t even come close to capturing the great man’s dangerous charisma.

Visceral and inquisitive, this well researched movie offers a punchy insight to prison life. Unfortunately, it is a familiar and tepid storyline.

An ambitious and sloppy, yet occasionally likeable, cross-European fable.

With not enough balls to be fun, and not enough brain to be cerebral, there’s not much going on behind those pained Western expressions to entertain.

It’s annoying and one-note and so relentless in its cheeriness that it eventually comes to seem almost likeable. At least there are great voice performances underneath all the felt and pop mash-ups.

A microwave meal of a kid’s film, consisting of tired tropes and bland platitudes. This particular village should have stayed lost.

In a crowded marketplace, new superhero movies need a lot to stand out; despite some solid work from Sylvester Stallone, it’s not really clear what Samaritan is bringing to the table.

The toxic reaction in Cannes should offer fair warning: Weinstein's glossbuster is a bust.

This is a very patchy affair - while some of the animated pieces work, others come across as downright insane.

Although the film has a ridiculous premise that's no reason for it not to work, sadly the direction it is taken in, it's poor acting, character development and shoddy action sequences are though. Allen stands out as a spunky heroine but she's the best thing in it.

Not a write-off, but more like a respectful homage than a 2020s update in the manner of Candyman (2021). Perhaps a little disrespect would have been truer to the Clive Barker/Pinhead spirit, which is curiously muted in this outing.

Possibly a brave and interesting triumph for its director, but definitely a cold-eyed heartless bore for his audience.

Bitty and frustrating, its bigger laughs are set against some off-balance storytelling and crude comedy. Not one to take your nan to.

A desire to Know What You Did Last Installment is likely to be the biggest draw for Scream number four, but if this proves to be the last in the series, it's a bloody shame it ended not with a Scream but a whimper.

The Darkest Minds boasts a decent cast and a fairly interesting premise centred on likeable characters. But its banality squashes any potential it had, resulting in a safe, forgettable sci-fi.

Rip Torn and Darren Burrows respectively over- and underplay their hands in this archly restrained Memphis melodrama.

An earnest stab at crunching a brilliant breezeblock of a novel down to film-size, but one that fails to pay off. Frankly, you might have more fun watching a pigeon for 149 minutes.

Too safe to shock and too familiar to really frighten, this is an overly conventional affair.

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.

If you just want to look with admiration and Johnny and/or Angelina – and why wouldn't you? – this offers the full scenic tour, but it's one of those frustrating almost-good films which never really catches fire.

A bloody, scuzzy, progressively preposterous whodunnit, blending old school and new wave to neutering effect. One chunky plus: the all-new Antihero Arnie.

Unfocused and uninspired, Night School has its moments but is held back by a script that required more study.