Slick and solid in moments, Den Of Thieves disappoints with its reliance on easy plotting and gruff, overcooked acting. One for Butler completists only.

Not many teen romances use high-concept fantasy to probe the nature of self. But despite its fascinating conceit – and strong opening scenes – Every Day is undone by blandness.

For an exposé very little is actually revealed, but as a neon-lit trawl through '70s New York, it's worth a look.

On paper, Don’t Let Go’s premise — a supernaturally flecked crime story with a hint of time travel — should be exciting but it is let down down by workaday writing and routine filmmaking.

A well-meaning but corny football fable.

Despite an intriguing premise, Winchester misses the mark. Its anti-gun message is a shot in the right direction, but lazy fright tactics and a contradictory ending leave it firing blanks.

Take out the BDSM, and Fifty Shades Freed would play perfectly as afternoon thriller on Channel 5. An end to a damp squib of a trilogy which sees Johnson as the only one to emerge unscathed.

Megaton’s choppy editing barely disguises his star’s hatred of running, while a brutal 12A neutering lessens what limited fun remains in seeing Oscar Schindler creakily throw a Russian bad ‘un into some supermarket shelves.

Like many of its ilk, this lacks both the wit and cheeky charm of the Pie franchise, subsisting instead on trite gags that dredge up every European stereotype from football thugs to French mimes.

Engaging turns from Anderson and Isaacs can’t elevate a narrative that ultimately goes nowhere, although it might make you want to get the tent out of the attic at long last.

It comes across as a man's eye view of what a women's film should be like, and although it's not altogether clunky, you can't help but feel that in the hands of a more sympathetic director it could have been something really quite special.

Telling an unfamiliar tale in a highly predictable manner, this is a laudable, but lightweight tribute to golf's founding fathers.

Martin Campbell made Zorro and Bond work as contemporary heroes, but doesn't quite have the feel for poor old Hal Jordan. Green Lantern is dazzling in pieces, but we've seen too many sharper versions of the superhero origin story in the last few years. It's not Jonah Hex, but the battery runs low too quickly.

An initially cool premise that goes nowhere interesting as it heads off somewhere else too quickly. Hartnett does his best, but director Shyamalan seems more interested in trying to convince us of his daughter’s pop-star credentials.

For a debut feature, this dustbowl survival flick shows undeniable promise. But committed performances and striking cinematography can’t stop a shaky narrative crumbling at the last. 

Haddish and Byrne play to their comedic strengths but Like A Boss falls foul of formulaic writing and a mistrust of the genre’s full potential. Stick to its groundbreaking peers for a taste of something sweeter.

Clint Eastwood’s bold choice to have real protagonists does little to enliven a listless story about friendship. Although the terrorist attack is effectively staged, The 15:17 To Paris fails to spin a remarkable film out of a remarkable act of heroism.

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

This movie intrigues and disappoints in equal measure.

Generic, uninspired and devoid of suspense.

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

Largely devoid of any charm or intelligence that made other Apes films entertaining, this one should be buried in the Forbidden Zone.

Precious Cargo is a film out of time. In the ’90s it would have been a serviceable DTV alternative when the Van Damme/Jeff Wincott flick was out at Blockbuster. These days it is a lacklustre anachronism. Bruce Willis should really know better.

Separately the characters are annoying; together it’s unnervingly like watching one actress playing twins.

Superlative performances from Roberts and Hammer almost cover the shortcomings. Like most Tarsem films it's a muddle, but this time not one with enough distracting dazzle.

An embarrassing mish-mash of comedy and horror which fits neither criteria.

There's a good film in here somewhere, but it's buried under a messy structure and unclear direction.

It's poetic, hypnotic and well-performed, but fails to either draw out its characters with conviction or fully draw its audience in.

More Pistachio Disguisey than Austin Powers, this cheapjack comedy is nowhere near as ingenious as the man it sends up.

A decent, affectionate, fitfully funny take on the fantasy genre, but this could have been so much more.

An awkward mix of realist social drama and Statham actioner, this doesn’t quite convince as either.

What begins as mildly intriguing stuff with some genuinely unsettling moments, quickly melts into a plot so confusing that it almost begins to look as though the editor was taking some mind-altering substance.

Gong Li is welcome as Hannibal's Japanese aunt-in-law/mentor, Gaspard Ulliel isn't a bad young Lecter and Webber's direction is intermittently classy -- but this is a footnote rather than a film.

Solely made for tiny tots, this may test the patience of supervising adults, but delight smaller viewers who will doubtless fall in love with George and want him for their very own.

A tasteless concoction - one gay character is particularly misjudged - that's instantly forgettable.

An inoffensive if unengaging family romp that somehow manages to make the ultimate day of fun feel like a drag.

It has all the required Police Academy staples and is one of the better sequels but this whole franchise is so dated that isn't saying much.

Madame Web isn’t much worse than the rest of the SPUMC, give or take, but it’s not really better, either. Its minimal saving grace is that it doesn’t require much familiarity with the wider universe.

Even with a strong cast to gild its endless chambers and salons, there's barely a spark of soul to fuel its story. Pattinson is no Malkovich either.

Those who found, say, Internal Affairs, a "stylish" affair will be able to say the same of this, only it's more so. The more squeamish will prefer to take Manhattan Woody Allen style.

The romantic plotting is so cliched that the denouement may as well have been e-mailed, and the director has fooled himself into believing that a rousing soundtrack is adequate shorthand for the mood of the flower power generation.

Beautifully animated, and about as faithful and affectionate as a corporate cash-in is possible to get — but it still doesn’t come close to the experience of actually playing the games.

Venom is neither triumph nor train-wreck. It’s a mediocre origin story, a superhero host that sadly fails to bond with its comedy parasite. Which is a shame, as there is enough here to to suggest it could have been a blast.

A few good stunts, some tolerable brooding and one nice, if silly desert chase. But not essential.

Wasting big-name actors, The Mauritanian is simultaneously over-stuffed and under-powered, turning a horrifying real-life ordeal into something flat and formulaic. Only Tahar Rahim’s consummate portrayal of grace under duress stands out.

Overlong and underpopulated with gags that really land, there's still moments of mirth for devotees of the original.

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.

Tonally a complete departure from the rest of the series, which is at once laudably brave and disappointingly unfunny.

This has some very, very funny bits...interspersed with a very slight film.

Even by the standards of animation, the logic fails here are impressive. But the bigger problem is the lack of charm, focus and original storytelling as the animals suddenly have to save the world instead of just surviving it.

Despite some nifty Japanese style tricks and ghostly illusions this isn't scary. It's muddled, same-old mayhem, just with a more international cast going crazy.

An animation that never drags itself out of mediocrity despite the best efforts of gifted animator Tartakovsky.

Disappointing given the talent and situation, dull as ditchwater and historically suspect, another "The King's Speech" it definitely is not. Nice costumes, though.

Despite some lovely cinematography and interesting insights into what makes the Parisian landmark so special, Eiffel is a forgettable forbidden love affair.

But what starts out so promisingly with some witty one-liners loses itself in the middle and finally descends into a slapstick routine that cries out for a touch of sophistication.

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.

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.

Some fresh ideas spruce up this horror, but it’s an ambitious debut which forgets that less is more. A lack of focus is the real killer.

Another violently unsuccessful attempt to bring this comic book character to screen.

The result reaches overload very quickly, squandering the potentially cool premise in a headlong assault of set-piece over story.

Bel Canto pushes a hard message about cultural misconceptions and boasts a promising and diverse cast, but only really makes an impact in the first and final minutes.

Midway is a big, bold, brazen attempt to detail one of World War II’s most significant moments. But in a post Saving Private Ryan-Dunkirk landscape, it feels astonishing anyone is still making war movies like this.

Director John McTiernan rigorously avoids anything that might conceivably be exciting.

Here's a film consisting entirely of things you've seen before. Especially indebted to the hardly classic students-on-rampage sagas Class Of 1984 and The Principal, it even takes its title from a forgotten Amanda Donohoe DTV movie of a few years back. Furthermore, it's choppily directed by Robert Manel (School Ties) and toplined by the still-in-decline Tom Berenger.

Writer-director Jack Hill (Spider Baby) evidently didn't try very hard on this one.

The usually reliable thriller-director Lumet falls short. With an irritating score and bizarre performance by Martin Balsam, it's alleviated by a promising performance by a young Christopher Walken.

Despite the promise of the title, this a fairly stale offering, plodding through the beats of a well-worn subgenre but failing to add much more than a foul mouth.

Two charming leads don't make up for a comedy that just doesn't quite deliver the laughs it should.

There’s too much going on and too little character development for this to become a Christmas classic.

Despite delicate performances, the lead characters never escape stereotype, and the relationship between them, which should be the emotional heart of the movie, never becomes remotely convincing even on an I Love Lucy level.

A director who can't decide whether he's aiming for high comedy or gritty noirishness combine to shoot the whole caboodle squarely in the foot.

Maybe this would hit the spot for a Sunday-night sofa slump but it’s more patronising than perceptive when it comes to portraying ageing. As disappointing as a stale scone.

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.

For all his ambition, Serkis can’t find the right tone for Mowgli and it becomes a very confused beast, neither fun enough for all ages to enjoy nor complex enough to be the visceral, grown-up thriller he nudges at.

A political football that arrives punctured and sputtering, this toothless class satire — an equal-opportunity offender — shouldn’t have pre-enraged anyone. It’s hardly the Hollywood takedown the MAGA crowd feared.

Though solidly made and bolstered by the always-engaging Daisy Edgar-Jones and Harris Dickinson, Where The Crawdads Sing struggles to live up to the promising popularity of its source material. A flat, flair-free and uninspiring adaptation.

The film seldom raises itself above the level of pleasant. And pleasant ain't sophisticated, and it certainly ain't sexy.

Delve into the story at your own risk, but embrace the unrepentant stupidity of it all and there’s a zen-like joy to be found in this screenvomit of adolescent violence.

The formula for Robin Williams' childish stick wares dangerously thin this time out.

Sadly, proof that they will make absolutely anything these days.

Yes, Geostorm is bad, but it’s not a stinker for the ages.

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

A strong opening, bursting with wit and vigour, gives way to a predictable, patronising and immensely lazy second half. Could have been so much more.

Lazy but functional tween fare.

For all the exploding gore, graphic eviscerations and combustible corpses, it’s not shocking, not sexy and not scary.

A few more laughs wouldn't have gone amiss, but then baseball's a serious business - especially when you've got your maths homework to finish before the team talk.

A very pompous version of the kind of nonsense Chuck Norris has been doing in far less embarrassing fashion for so many years.

A Journal For Jordan is probably better suited to the page than the screen. Despite winning chemistry from Michael 
B. Jordan and Chanté Adams, Denzel Washington’s film etches a romance that rarely delivers substance or surprises.

In the hands of bolder storytellers this could have been a witty take on "E. T."

Charmless and saddled with disastrous flashbacks, this doesn’t have the street smarts to play its strongest hand. There’s a great film in here struggling to get out, but the definitive London noir still remains unmade.

Given all the elements involved, Fountain Of Youth should be a blast. That it isn’t is a real disappointment. Maybe best left buried.

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.

Cards on the table: rock operas pretty much suck except for "Tommy."

Another deeply flawed, tech-forward endeavour for Zemeckis in which glimmers of human emotion only occasionally break through. Like Cloud Atlas for baby boomers experiencing late-middle-age malaise.

Despite some impressive woozy visuals and a soundtrack of chart-topping music, there’s not much to recommend this derivative pop-star drama.

Long-shelved, the final product never lives up to the promise of its contemporary-Grimm-brothers conceit.

Pitched halfway between a comedy and a morality tale, this space race often falls between the two, but is mildly diverting and boasts a strong young cast that will go on to make better things.

All pout and pose, with no spine to speak of; a beast with no back.