Despite strong performances from Cookson and Dench, this potentially exciting espionage tale is dreary and forgettable.

The quintessential Lynch. Prepare to be confused/intrigued/frustrated/disturbed/hooked.

A big, lumbering bastard of an action movie sequel. It achieves more-or-less exactly what it promises — which, given this franchise’s track record, is a low bar to clear.

Wildly uneven, but funny in a bittersweet tittery sort of way in places.

This is a come-for-Lopez, stay-for-Lopez endeavour, and she’s on fine, movie star form in this serviceable, if forgettable action thriller.

Erman could have made a movie that left the Bette Midler stereotype in the eighties where it belonged, but he didn't. Great if you're a Bette fan, somewhat trying if you're not, though thankfully some of the sheer hamminess has been dulled with time.

C&W lovers will lap it up - look out for some stellar Nashville cameos - and there's big-lunged uplift to see you through the cornball plot turns.

Ridiculous, of course, but not as ridiculous as it might have been. As much fun as it has with the idea of animals stomping cities to rubble, it seems shy of going completely over the top, and it’s the poorer for it.

More The Wild Geese than The Wild Bunch, The Expendables is not a wasted opportunity, but more one not fully exploited.

Strays from the boundaries of believability a little too much to be regarding anything other than a throw-away comedy.

Formula is now the name of the game, although a steady diet of stunts and shootouts ensures that the audience is never bored.

Peter Bogdanovich's attempt to update the screwball of the Golden Age lacks the requisite elegance, wit and charm.

Grubby and yet vital, it stays with you.

Although adequately put together, this is entirely unnecessary as a movie, with nothing to add to its limited interest sub-genre, no surprises at all in its by-the-numbers script, and no credit at all to the various servicable members of the cast.

Franchise fans will enjoy seeing the Lamberts again, but newcomers will be baffled by the under-developed story and nonplussed by the over-familiar scares.

In all, Legends Of The Fall is a grand bore, more laughable than stirring. So big everything becomes blurry and distant, so beautiful it could be ad for male hair products.

The inconsistencies in tone - is it an Anchorman-style farce or something more serious? - distract from likeable turns from the leads.

Come for Nic Cage fighting a robot alligator with a mop. Stay for some inventive licks on the dead-by-dawn horror-movie template, though the other characters are nothing to shriek about.

There’s much to chew on in Cherry, and not all of it works. But a never-better performance from Tom Holland, and some bold directorial choices, make it a mostly compelling watch.

It’s all a little too lightweight, and not above corniness and sentimentality, but it does earn its little emotional breakthroughs, modest as they are. And the sense of time and place is vivid.

This is actually better than it may sound, though rather less charming than it would like to, and needs to be.

A script that suffers the same problem as its characters -- lack of confidence -- is in dire need of a fire being lit under its arse. All involved could do with learning a thing or two from some scoundrels of the 'dirty, rotten' school.

There is fun to be had.... But it essentially feels like an overlong, mega-budgeted episode of a Saturday-morning serial.

If there are post-Harry Potter children who don’t know or care about The Wizard of Oz, they might be at sea with this story about a not-very-nice grownup in a magic land, but long-term Oz watchers will be enchanted and enthralled. There’s even a musical number, albeit an abbreviated one. Mila Kunis gets a gold star for excellence in bewitchery and Sam Raimi can settle securely behind the curtain as a mature master of illusion.

A bloody-knuckled fightfest, back-dropped by the beautiful Welsh countryside, this defies its budget to bring a little epic to Viking Britain.

All the boys might love Mandy Lane - discerning horror fans, however, will not.

Delivering knockout action and political punch, this blazing siren of a B movie imagines America at civil war with vicious force. Sequel, please.

This is a hoot, the kind of hammy horror romp you wouldn't kick out of the video on a wet Wednesday night.

The by-the-numbers plotting is a little clunky but there's fun to be had in the cast's easy chemistry.

The film's real strength is the way it sounds, with Ry Cooder's jangling score competing with thunderous gunplay for the shell-like's appreciative attention.

A gripping, affecting, strange movie -- but oddly, it's just like too many other gripping, affecting, strange movies we've seen recently.

As ultraviolent as the first film, and as ultrasmutty, The Golden Circle will leave the Kingsfans grinning, even if its characters have less growing to do this time around.

A shambling, ponderous mess that aims to be a trashy cult classic and merely ends up in the trash - Fichtner aside. And, in the biggest disappointment of all, there's not even that much angry driving in it.

Seize Them! turns the Dark Ages into the daft ages, delivering a mostly entertaining, female-centred comedy enlivened by winning performances.

Deeply forgettable and disposable, this is the kind of action-comedy you will feel like you have seen before. But Halle Berry and Mark Wahlberg are good fun, at least.

If you buy in to the central romance, you’ll laugh, you’ll cry, you’ll swoon. Otherwise, the lingering glances, lip-chewing and regular de-shirting may cause uncontrollable giggles.

Not so much a ripping yarn, more of a dripping yarn, Yates’ reinterpretation of the Lord Of The Jungle is a big disappointment.

Decidely average teen drama but with a few decent dance numbers.

Valiant though this low-budget attempt to reclaim Hellboy may be, it sadly lacks the storytelling and stylistic savvy to rise above its all-too-obvious budgetary limitations.

These Mark 6 Jaegers with their electric whips, “gravity slings” and plasma swords deliver all the giant robot thrills you could wish. Thanks to Boyega and Spaeny, you might even care about the human characters, too.

On the more inoffensive end of Netflix’s original output, Heart Of Stone is a perfectly watchable and often daft bit of fun, but its mission to supersede Ethan Hunt might prove to be impossible.

Standard-issue late-stage Netflix-era Sandler stuff: not exactly good, but goofy and charming in its own boneheaded, stick-it-on-if-there’s-nothing-else-on kind of way.

It may occasionally shock a laugh from you, but between those moments your face will be a rictus of horror.

Inferior teen drugs-drama, lacking depth and a point.

Crossbreeding superhero tropes with horror staples was an idea laden with promise. Brightburn is enlivened by trademark James Gunn black comedy, but hamstrung by sketchy writing and a botched sense of dread.

Landis occasionally plays wonderful licks on the cliches, as in an original take on the familiar vampire-burning-up-at-dawn shtick, but like his earlier movies (An American Werewolf In London, The Blues Brothers) this keeps self-destructing on a story level. Of all entries in the recent vampire cycle, this is at once the most hung-up on horror history and the most revisionary in its rewriting of the mythology.

A fascinating but flawed portrait of a fascinating but flawed man. However, with Cox so good, it’s a surprise Churchill isn’t being held back until awards season.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

It offers the bones of a compelling story, but one-note characters, riskless storytelling and creaky pacing prevent this film from making an impact. This is a prescription best left unfilled.

Right from the intriguing opening sequence, which hints at the bleakness which envelops the movie, Willis’ Talley is an interesting character.

As in Cocoon, the emphasis is on sentiment, feel-good and reclaiming the elderly from the scrapheap. But the performances are nowhere near as subtle.

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.

Vaughn gets a lot of points for imagination, but then quite a lot taken away for not knowing when to stop. A blast at times, The King’s Man could have sacrificed a fair chunk of plot for a bit more comedy.

Like any holiday, it is episodic and suffers from repetition but this is gag-for-gag the funniest film of the summer and a fitting end to a much-loved series. So long boys, it's been great to know you.

This is a feel good movie which is too mechanically put together to make you feel anything.

An emotional, if familiar, take on loyalty and technology in a world where love and survival feel near-impossible. Reid’s writing shines and there’s nobody better than Mescal and Ronan to broadcast heartbreak.

Despite John Cena’s best efforts, Ricky Stanicky is a comedy that delivers nothing but tedium, wasting a clever idea by repeating the same jokes over and over.

Surprisingly watchable, at least by recent Vince Vaughn standards, with Chris Pratt stealing the show was the hilariously gormless lawyer.

Hardly groundbreaking but this high-school actioner ghosts by on its charm and sense of fun.

This is an attempt to be both a high-octane actionfest and a satire on such films, the result of which is the weirdest concoction: the metaphysical blockbuster. No wonder it tanked.

Waititi’s shtick runs thin, and there are badly misguided moments, but this is still a warm, heart-mostly-in-the-right-place portrait of a momentously poor sports team.

Badly scripted, hackneyed, cliched, deaf/blind comedy.

A stylish, darkly satirical horror-thriller, raising serious questions about Hollywood’s sanitisation of violence.

Slick, sick stuff, but save the odd squirm, a killer-plant horror that doesn’t grow anywhere.

It rips a few too many pages from familiar playbooks, but when it indulges in its own weirdness this film casts off those heavy caterpillar tracks and soars.

A needless threequel. Note to director: avoid 'rise of the' titles.

Likeable leads and the odd good joke makes this romance an amiable time-passer.

Besides being an author, Edgar Allan Poe was one of the most vicious, merciless critics of his age. He would not have let this get past him without skewering its shortcomings with a barbed quill.

Sadly, this will not go down as one of Brooks' classics.

It's a long way from Top Gun, but it's still stirring stuff.

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.

A likeable comedy that uses its greatest asset, its talented, funny cast, to good effect.

Borderline dreadful waste of potential.

According to Phillips, the 'Part II' in the title is a nod to the second "Godfather," which matched the genius of its forerunner. Ironically, his own sequel offer is one you should refuse.

Even The Rock's immense charisma cannot save this predicatable fare.

Too much distance has crept in for The Old Guard 2 to feel memorable, and it shows. A convoluted, sequel-baiting mess that proves time is not a healer.

It’s not bad, but given all the talent involved, it would have been nice for Hamburg to push the envelope a bit further and deliver something with real bite. As it is, this is more of a pleasant, but forgettable, time-filler.

This isn't afraid to be a horror movie.

Covering alcoholism, manslaughter, infidelity and petty crime, there’s a rich spread of melodrama on offer, but none of the tales have meat enough to satisfy alone. Together, though, they form a varied backdrop to showcase some respectable character work.

Delivers a decent puzzle and enough jumps to keep you enjoyably jittery.

This is one of those failures that has so many near-great things that it almost gets by on guts.

This latest visit to Raccoon City captures the games’ spirit but fails to translate that to cinematic thrills.

Moderately lame horror.

An unbelievably long film for so little pay-off. More cowboys, please.

There are moments that make the whole enterprise worthwhile, and introduces an intriguing new Batman. But it’s also cluttered and narratively wonky; a few jokes wouldn’t have gone amiss, either.

A dream cast are on good form in a film that makes you want to call your siblings, but very glad you don’t live with them.

This is so derivative it has no soul of its own.

Made with such elegance, atmosphere and wonderfully mannered performances it will nestle deep inside your head, refusing to budge. The more you ponder it, the better it becomes.

For the most part, Edge Of Reason is as saggy and well-worn as Bridget's big knickers.

Good ideas. Average film.

It’s not hard to tell that this Big Lebowski spin-off involved neither Coen Brother. Fair play to Turturro for going in such a strange direction, and assembling a pretty killer cast, but it’s unlikely to satisfy even the most ardent Quintana enthusiast.

Not quite a flawless victory, but a solid win all the same. Any future follow-ups would do well to give us an actual Mortal Kombat tournament to enjoy.

Interesting father-and-son dynamic, though not particularly memorable in the long-term.

Despite the odd strong moment, this Bloodshot is anaemic.

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

Lithe, bold, often funny and full of characters to cheer for, it never pretends to be anything more than a trigger-happy romp. If that’s what you’re after, The Losers offers plenty of explosive entertainment.

A bold and sometimes garbled take on modern American politics, this nevertheless marks an effective and surprisingly funny comeback for a film that many deemed to be DOA.

To say this is the best of the Ernest series is no great compliment, but there are enough knowing film jibes here, and ample seasonal tomfoolery, to keep a family in their seats.