An arch mix of police procedural and supernatural chiller, this is bleak, edgy, sometimes silly stuff.

Statham is as gruffly convincing as he usually is (though it’s 20 minutes before he’s even allowed to kick any ass), but the action scenes are horribly inconsistent: fine in the hand-to-hand stuff, sloppy elsewhere.

A low gag rate, irritating unlikeable characters and mean-spirited moments sap the joy out of a sweet true story. Looking for a freewheeling feel-good summer comedy? Tag’s not ‘it’.

A stylistic departure from the shaky aesthetic of the first film. Sadly, most of its nervy shocks and creeping sense of unease go the same way.

It’s another spin on the usual Statham actioner, solidly performed but with a ridiculous plot and – even by the standards of the genre – a predictable outcome. Less gimme shelter, more gimme a break.

There's no escaping the teen angst or, for that matter, Araki's thumping message with the angry director managing to slip the odd political curve-ball into proceedings as if he's been watching too many Oliver Stone movies.

It has a strong, game cast but this is karaoke filmmaking, trading on nostalgia rather than breaking new territory. Affable but forgettable.

It isn’t quite hell, but clambering to the end of this dusty remnant of an idea is certainly purgatory.

Even if the film takes a moment to sheepishly acknowledge its more offensive gags, it’s still asking for laughs from them.

Safe, sentimental, and loved by kids, Short Circuit never tries to dissect it's predecessor (E.T.) nor outdo it in any way. Would have been nice to see a human-robot love triangle.

If you're after Sharon Stone in the buff, rent Basic Instinct. It's not a terrible way to spend an hour and a half but it just doesn't fulfill its potential. Stone and Baldwin try to get raunchy but find themselves in desperate need of a fluffer.

Aside from some effectively understated acting from the leads, there's not much to remember or recommend.

Elba is genuinely great as the tormented Roland, but the film does its best to suffocate him under a mountain of plot-heavy nonsense. Disappointing.

It’s a great premise but, over-populated by dull characters and a flat feel, Cocaine Bear is sadly a party animal that never gets started. Not quite a coke zero but close.

Despite solid performances and flashes of promise, Morbius is a flat, forgettable affair, failing to deliver an anti-hero origin story we can really sink our teeth into.

There's a Cronenbergian coldness to Olivier Assayas' corporate thriller.

A decent cast gives it more credibility than it deserves.

Not a bad premise, but material demanding a light touch is weighed down by a desperate desire to fit in, like a little kid swearing to impress the big boys.

Amazing – a movie that somehow manages to be both irritatingly familiar and instantly forgettable.

A collage of strong scenes, dull bits, good filmmaking and a dissatisfying emotional payoff. A laudable attempt to tackle heavyweight subject-matter that ends up just being heavy weather.

The movie may dole out a few guilty pleasures, but you won’t believe a word of it.

Perfectly watchable, undemanding fun, but you can't help thinking that a slightly darker tone would have gone a very long way.

The loyal fans — and they are legion — will trot out clichés like, “Leave your brain at the door,” and defend Age Of Extinction’s right to be nothing but a succession of varoom! and kersmash! sequences. For those who aren’t still blindly faithful to something they liked when they were nine, despite the colossal scale, there’s little to see here.

Gerard Butler stars in a very good film where he helps a guarded woman get over a tragedy in her past. It’s called "Dear Frankie" - go rent that instead.

One of the dreariest outer space swashbucklers of all time.

Good fun, but O'Nan doesn't take this film nearly as far as it could go, leaving the plot and its characters somewhat two-dimensional in their obvious stereotyping.

The lesser of 2017’s two Wonder Woman movies, this attempt to explore a complex three-sided relationship is let down by bland storytelling.

Some of the slower tunes tend to grind but the sort of musical/ retro irony is still amusing in places. Not if you don't like dentists though.

Feeling like a relic from the wave of ’90s crime ensembles that followed in Tarantino’s wake, Arkansas not only squanders some good talent, it’s a tragic waste of a fine book.

With Soderbergh now only on cinematography duties, this one takes all of the original’s surface — chiefly the hip gyrations — and none of the substance, interesting character arcs or charms.

Fans will relish the chance to see Katy's rainbow-tastic live shows magically enhanced by 3D technology. Those indifferent to her will leave as perplexed about Perry's superstardom as they were before.

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

A gripping and unheralded story that doesn't quite get the telling it deserves.

As dysfunctional movie families go, the Rubins hardly linger in the memory.

It's entertaining in a laughable, six-pack kind of way, acceptable if you're in the mood, slightly irritating if you're not.

Showing more enthusiasm than aptitude, this earns ‘could do better if it tried’ on its report card — but it’s a strange enough genre mix to be vaguely worth a look.

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.

Sporadically funny, but never more than a sting of crude gags.

Director DeVito doesn't make his characters' cold-blooded decisions anywhere near as credible as he did in territorial black comedy "The War Of The Roses." Someone's losing their touch, it seems.

Ultimately, Hidalgo falls down due to a neglect of basic story elements -- anonymous villains, a hero with no clear goal other than money, love interests who sound alternately gin-sodden and lobotomised -- and after a brief burst of energy staggers home at a mild limp.

Painfully unfunny, I Love You, Beth Cooper is more likely to elicit the opposite reaction.

Far from the best of Penn’s directing work but also not the worst (The Last Face is unlikely to lose that dubious crown). Dylan emerges the most triumphant Penn from a largely boring drama.

Despite some sweet moments and strong on-screen talent, The Wedding Banquet’s off pacing and limited character development mean it ultimately falls flat.

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

A film that isn't so much bad as bizarre with Willis disastrously miscast as a gun-hating trauma victim and the kind of ending that even the writers of Scooby Doo wouldn't dare contemplate.

Given the story is based on reality, it’s understandable why the makers of 6 Below didn’t want to throw in embellishments, but a bear attack really wouldn’t have gone amiss.

The first one offered the novel sight of Oskar Schindler going Commando. Unfortunately, this half-hearted sequel is low on novelty and lower on fun.

There are sparks of solid action amidst the confusion, but Max Landis’ script contains too much stilted dialogue to properly ignite.

Subtlety had never been Brooks’ thing, but even blunt blows need to be well aimed, and while Spaceballs doesn’t exactly miss its targets, it certainly bounces off them embarrassingly.

Sweet, slushy mush of a family film.

Bay’s genuine determination to give you a good time still doesn’t result in fun. Overlong, overstuffed and soulless, for fans who grew up with Optimus and Co, The Last Knight will sting like a bee.

With such strong acting support from Paxton and Margulies, Green could have produced a dynamic drama. With muddled characterisation, a slight script and an over-the-top ending, it emerges as an ill-conceived attempt to make a thriller out of almost nothing.

A competent suspenser, helped by the always-dependable Diane Lane, but it suffers by following the modern thriller playbook to the letter.

An overqualified adult cast and some fun moments can’t entirely compensate for a defanged protagonist and too-static plot. This fantasy desperately needed a little more magic.

It means well, but it's all just a bit too tired a formula - even by the standards of a kids film. Put this one in the top field to 'rest'.

Certainly not the worst of the endless stream of TV remakes, but given the unassuming, easy charm of the original, still wide of the mark by a country mile.

Poor attempt by Hammer to create their version of Frankenstein, featuring the usually reliable Bates offering a rather irritating performance as the scientist who goes beyond the call of science. Meanwhile before the call of Darth Vader Prowse begins to practice his heavy breathing and ominous walk.

De Palma is incapable of making a dull movie, but poor performances and a see-sawing tone make this an unsatisfying experience.

A Rainy Day In New York hits all of Allen’s touchstones, has a few good one-liners and is well played, but it sorely lacks the wit, vitality and veracity of his ’70s/’80s heyday.

The film seems to be pitched at shrieking level, as if that’s the only timbre children can register.

It’s easy on the eye, and indeed the brain, but this is nowhere near as sharply written or plotted as it should be to bring these characters to life.

Roth's slick shock-'em-up sequel is a dispiritingly traditional splat of gristly Grand Guignol. It's tooled up to outrage, but ultimately numbs rather than grips.

In spite of two great performances, this is a muddled affair.

Strictly-for-fans-only. Bono is a charismatic chronicler of his own life, but the self-conscious storytelling concept is a harder thing to stomach for non-enthusiasts.

An anti-capitalist fable that lets down its star power with an underdeveloped script. All of Good Fortune’s good intentions don’t make up for it being such a mediocre time at the movies.

This big-spy-meets-little-kid comedy isn’t funny enough for teens, but not really suitable for younger viewers either.

However exotic the locations and starry the stars, there’s no escaping this is The Devil’s Advocate of online gambling. Fold.

Comes across as a TV movie and overall, a disappointment - a high calibre cast and concept completely squandered.

A clever idea that can't find its feet on the bigger stage.

One’s a cop who can’t shoot straight! One’s a kid with a nose for trouble! Together… they lack the wit, thrills and rapport to deliver fun genre times.

Miss.

No plot, no real story, no point really.

It’s hard to remember that this extremely unexceptional film was a major hit back in the 70s.

The Last Days Of American Crime takes a potentially entertaining, if silly, premise and drains it of any reason to get invested. You can just imagine a John Carpenter would have doubled the thrills in half the time.

Writer-director Jill Sprecher doesn't have the deftness or sad humour that P. T. Anderson uses in his similarly contrived group portraits, but the cast are, at least, individually fine.

Doesn't really cut it in the Western genre.

Despite strong turns, it feels little more than an Egoyan lecture on Serious Stuff; lots to talk about, little to enjoy.

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

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

Grim and gritty. Warning: contains punishing scenes of testicle burning.

A dodgy script and weak direction means the decent performances fall flat.

Messier and heavier than Days Of Future Past, this is not so much the next step in the X-Men’s evolution as a failed callback to past glories.

Despite some fun action excess and an impressively committed performance from Bill Skarsgård, Boy Kills World is a muddled, tiring mess, favouring violent shocks over cohesive storytelling.

This true-life tale takes some believing in the era of global warming (too much ice? Really?) but the sledgehammer emoting should let you know you're in a family drama.

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

Even the gratuitous nudity can't quite save a Heathers-goes-to-college horror that's undermined by a silly plot and clunky dialogue.

Sleepwalkers, Steven King's first original screenplay, is horror filmmaking by numbers. It has monster fiends, a few swooshing tracking shots, many a touch lifted from every self-respecting vampire movie ever made, and several weak but intentional laughs to indicate that no one here is taking the thing too seriously.

Newcomers will be puzzled by the clumsy contextualisation and muddled motivation of characters who, robbed of their inner lives by a clunky script, are left floundering amid the melodrama and speak-the-plot dialogue.

It’s well-intentioned and manages some nicely judged messaging by the end, but Harold’s mugging and his animal companions’ antics aren’t nearly as cute as the film thinks they are.

The ambition is laudible, but it's to little end. At once empty and impenetrable, this brings to mind a mix of John Carter and Dungeons And Dragons, regrettably in both themes and level of enjoyment.

Despite a valiant effort from Justice Smith, the satire in The American Society of Magical Negroes feels aimless, scattered across a story that struggles to pick a meaningful direction.

The grave tone makes it stiff and leaden, the digi-saturated look is a turn-off. Damnable and disordered.

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.

This is one expensive folly.

Predictable and been-there, seen-that, but entertaining nevertheless at times.

A huge, bulging disappointment.

Bland enough to make millions as culture edges closer to oblivion.

Fatima raises some intriguing questions about faith but sadly fails to make us believe in anything more comforting than the climate of fear, distrust and grief that flourishes during wartime.