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.

The type of movie often described as a fever-dream: weird, offbeat, otherworldly… An experience that also coincides with feeling ill.

Jacki Weaver is excellent in this colourful culture-clash comedy which, despite an uneven tone, offers a welcome message about the power of love and acceptance.

Seemingly wishing to start another Conjuring off-shoot, this will be lucky to get out the gate. Without an original or fresh bone in its body, The Curse Of La Llorona smacks of unelevated horror for the very easily scared, not to mention pleased.

Yes, it’s offensive, stupid and loud, but its cartoonish, macabre wit should be evident to anyone with a brain in the first ten minutes. Whether it’s funny or not, though, is another matter entirely. Approach with extreme caution -- and/or rubber gloves.

Pointless re-make. One of (the once great) Carpenter's worst.

It just scrapes two stars on the strength of Wilson’s best efforts. But for God’s sake, someone give this man a sparring partner.

Over-reaching and unintentionally amusing, this is straight-to-video quality inexplicably delivered at blockbuster scale. A thunderous volca-NO.

Pretty cinematography and a committed performance from Amy Adams fail to save The Woman In The Window, a film that aims for Hitchcockian thrills and lands in afternoon TV territory.

Director Alan Pakula's sympathies seem to lie in the landscape, never less than exquisitely framed. But even this mute star can't fill the space left by dour performances.

One for fans only.

About as good as a big, stupid American action movie can be without ever being anything better than a big, stupid American action movie.

Cool, handsome, self-assured... but, as the existentialists might say, what’s the bloody point?

Proof that you can make good movies based on video games, as long as you don't bother making a video game first. Juice us up for Crank 3D.

A most fascinating disaster of genre making.

Passengers is as surprisingly traditional as it is undeniably effective. A timeless romance wedded to a space-age survival thriller, it may be a curious coupling but Tyldum’s Turing follow-up is a journey well worth taking.

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.

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.

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

Strong performances keep the viewer guessing as much as our heroine, but the character drama recedes as the thriller element builds, to its detriment.

We've seen it all a million times before, but there are abundant (foul-mouthed) funnies, and debut director Michael Bay shows his commercials expertise propelling the noisy nonsense into a frantically slick and thoroughly enjoyable extravaganza.

A tragic waste of acting talent, with nothing new to say. Can we please now politely close the door on middle-class repression before we get really angry?

A sequel nobody needed, and very few demanded, but one that is nice to have anyway. Very daft and very childish and mostly very funny.

A generic but competent reboot-quel enlivened by good performances across the board and some stylish direction. No grudges need be held here, but maybe it’s time to put this franchise to bed.

A promising debut that stumbles in its final act, but its pseudo-documentary and found-footage sequences make Shelby Oaks a suitably creepy calling card.

Little more than schmaltz and pitchfork-handed fisticuffs.

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.

Be warned - Damon isn't in this one.

Blomkamp’s third movie has just about enough spectacle and quirk to overcome some fairly major flaws, not least of which is an unappealing central trio.

A talented cast keep some low-key action and tired gags from derailing this disappointing farce.

Messier than recent Hammer output, but effectively chilling when it’s not making us feel the noize.

Well below anything else Eddie did before it. Needs a tighter script and a more confident performance.

A committed performance by Thorne along with some moments of directorial flair can’t offset the frustratingly dumb characters and shallow analysis.

It never quite tumbles into Wonderland, but the ambition at play — and a top cast of supporting players — is just enough to let Come Away off the Hook.

On such a limited level this delivers; if you take the kids, leave them to it.

Sean Penn's not been this fun since Jeff Spicoli and there's plenty of rip-roaring action, but Gangster Squad proves a minor entry in the annals of LA noir.

If you like fast food movies that you digest and then 10 minutes later forget what you had - or if a simple evening’s entertainment is what you’re after, this will certainly do the trick.

Some okay thrills with good performances and some smarts. But the last reel plunge spoils things. Myth for the new millennium: any average, out-of-shape middle-aged Yank, including the President, can get in a punch-up with a few well-armed, super-trained terrorists, and win.

Catfish pair Joost and Ariel Schulman keep the franchise firmly on track with a satisfyingly scary fourth instalment.

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.

Overcoming a shaky start, this low-budget rom-dram rewards patience, with a fine cast delivering strong work. Accept the invitation.

Crude, patronising and mawkish, but rescued by excellent performances, beautiful landscape photography, and hard-to-argue-with themes of natural justice, delivered with a punch.

Funny and inventive vehicle for Chevy Chase's hapless and genuinely funny comic creation.

Another reason to avoid films endorsed by the US military, this is sub-propaganda tosh that inadvertently plays like Hot Shots: Part Trois.

The jingoism is blindingly awful, but by the time of the showdown, the film has descended into an unaware parody of itself.

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 not the messiah. Nor is it a very naughty boy. There was an opportunity for a truly original spin on the so-called Greatest Story Ever Told here, but The Carpenter’s Son pulls its punches to make a rather rote horror that amounts to little.

Your opinion of this unasked-for but likable comedy sequel depends entirely on whether your reaction to the statement “It’s better than the first one” is 1) “Dear God, it could hardly be worse” or 2) “Awesome!”

A no-holds-barred assault on hollywood cop sensibilities that could have benefited from more comic diversions.

That most essential element in a thriller, the suspense, collapses mid-film, making it hard to care about the eventual denouement.

In spite of what may seem like a direct-to-VOD vibe, this is a slick, nasty thriller with a throwback quality, neither too self-serious nor too self-aware. While it’s not especially fresh, it’s still solid genre filmmaking.

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

Performances, plot and landings are nailed down, but there's not enough invention here for the film to achieve cult status.

Like Avengers Assemble forced through a Deadpool mangle, Suicide Squad gives new life to DC’s big-screen universe. So bad-to-the-bone it’s good.

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

The background is more intriguing than the stumbling up-front story, and monster watchers will get full use of the freeze-frame facility.

An old-fashioned disaster B-movie with a slickly presented sci-fi premise, 65 holds few surprises — but like Adam Driver’s resourceful, humane hero, it gets the job done. More dinosaurs, please, Hollywood!

The end result, although entertaining and well-crafted, certainly isn't on the same breathtaking scale of, say, Alan Parker's epic "Evita."

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.

Despite elements that threaten to drag it down into the depths, Ben Wheatley’s Meg sequel (cherish those words) battles a waterlogged script with playful pulpiness, delivering solid summer fin. Sorry, fun.

Mark Wahlberg is convincing and committed as a foul-mouthed Father, but this is ultimately just religious propaganda — preaching exclusively to the converted.

A genuine oddity, Welcome To Marwen may not hit the emotional highs but mixes high-concept fun with a sincere attempt to describe trauma in an original visceral way. And Zemeckis’ filmmaking remains exemplary.

Aside from Rose Byrne's complex performance, there's nothing here that improves upon the original.

So the boy can act -- this is the best thing he’s done.

Fleetingly enjoyable in very short bursts, this is the most cynically constructed event movie in recent memory, its heart purely in its wallet. A fantastic bore.

You’ll be jolted a couple of times, but these aren’t scares that will stay with you. How about retiring “based on a true story” in favour of “based on a good story”?

By stifling Hart’s seasoned comedy-fuelled charisma, this overly stylised crime caper is a turbulent ride. Stay for Mbatha-Raw’s righteous action skills, which should propel her to bigger and bolder things.

Unwieldy and flawed, but Stone remains a tornado in an era of airless formula and -- to paraphrase our Ptolemy -- its failings are greater than most films’ successes.

Worse than Scary Movies 1 through 3… And they were terrible.

For much of its slowburn build there is a classy, intelligent thriller at work, something closer in tone to The Odessa File. Still, you must remain guarded to how over the top and quasi-horror events will finally turn.

With jokes that routinely miss the mark and cringeworthy slapstick, this black comedy farce shouldn't work. Somehow, though, it does.

Given such a cloying and utterly predictable plot, it's surprising that Three Fugitives works as well as it does. Nolte, all big shoulders and bashfulness shows a pleasant self-deprecating talent and copes very well with the array of humiliations ranged against him.

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

Considerably better than its predecessor, the central four may give it their all but the people behind this franchise sadly don’t seem all that interested in their crime-fighting, pizza-eating heroes.

A tired retread of better jokes in the first two movies, this drags along to an admittedly heartwarming conclusion. But it’s a good thing this caps the trilogy because it’s coasting on fumes.

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

Kids will love it but adults may find it just too silly to sit through.

Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.

Van Damme's doubling up merely tends to make this movie, co-written and co-produced by the self-styled Muscles From Brussels, twice as avoidable as it would otherwise be.

A riot of confused, clever and dazzling moments, Toys is a true formula-defying one-off for which the phrase love it or loathe it might have been coined, and one so audaciously zany that you will be captivated or enraged.

Like too much filmed space opera, this is wonderfully imaginative when it comes to costume, art direction, special effects, spaceships and incidental alien creatures but stuck with old-hat character types and a resolutely unspecial storyline. It’s frequently entertaining, but as much for its terrible moments as its inspired touches.

Another shake-and-bake Stath special, boasting the requisite punchy-fighty action and some pleasing sleaziness from Franco and Bosworth, but it's ponderously handled by director Fleder.

The chases, fights and fun bits of spy craft are brightly and pacily shot, but the 'twists' are barely surprising. These women, and these characters, deserve more.

Morally dubious it may be, but this gory melange of torture, terror and darkly humorous depravity appeals to the sick puppy within us all.

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.

Unsurprisingly this is the worst in the RoboCop trilogy, with the plot proving ridiculous, excelling itself particularly in the climax. For what was a promising debut, it's reputation was quickly tarnished with the drivvel such as this that followed.

Exactly as ordinary as you're already expecting it's going to be.

What's missing here though is the novel's trick of being a wonderfully contrived mystery on the surface while underneath lurks an angry and upsetting analysis of class injustice in the USA.

A remake that does not disgrace the original, this is sufficiently different to stand alone and just as relevant in its concerns – as well as succeeding (arguably better) as a thriller. And after this performance, are we sure that Keanu Reeves is really human?

Spiral makes an admirable stab at defibrillating an old franchise — but ultimately wastes its stars, caught in the same bear-trap of a formula that befell earlier sequels.

It purports to celebrate the pursuit of science, but this film may have single-handedly set the space programme back a decade.

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.

Can everyone stop making moody origin stories now, please? While not a disaster, this isn’t the claws-out, rampaging adventure we hoped for. No-one cares where Wolverine found his jacket — a spin-off with him kicking ass in Japan would have been way more fun.

Armour-clanging, cloak-swishing tosh with okay battles, terrible dialogue and sadly little horror or heroism. Nowhere near as bad as I, Frankenstein – but what is?

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.

In the title role, newcomer Smith shows vestiges of an intuitive and moving performance, but he's swamped by a veritable tsunami of sentimentality and hamstrung by cute dialogue.

A famously disastrous follow-up to William Friedkin’s horror hit.

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.