The rapid-fire editing and glossy photography can't disguise The Fan's hollowness or De Niro's phoned in performance. A disappointment.

It’s Sliding Doors with place settings, but Love Wedding Repeat can’t make its time-loop conceit work (stick with About Time). Bouquets to the cast and production values; a quickie divorce from everything else.

The Michael versus Laurie showdown delivers — but for the most part, Halloween Ends is an unsatisfying closing chapter for this continuity. In trying to grapple with the horror beneath Michael Myers’ mask, it gets lost up its own abyss.

This leaden relocating of an iconic German saga to 16th-century France isn’t helped by the miscast Mads Mikkelsen’s morose display as Michael Kohlhaas.

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.

Wringing the last drops out of the idea, it strains to stay on-side, but it remains true enough to the spirit of the series to get it over the line.

The concept of combining Adam Sandler and horror is not a bad one. But this is no Abbott And Costello Meet Frankenstein. Instead, Hubie Halloween inspires mild dread for all the wrong reasons..

Unforgivably terrible.

Two actors have wasted their considerable talents on this hapless comedy. With a flawed plot and far too few jokes, it's understandable why this isn't a particularly memorable film and just as well it's disappeared without trace.

Driven by cliches and almost completely ignoring the psychological growth of the children coping with the loss of their parents, it doesn't take long for this to descent into meaningless schlock.

While the supporting actors are engaging, the turgid screenplay lets the whole thing down.

Mildly titillating, but not very good.

Despite being anchored by moments of real emotion and good performances from James Purefoy and Imelda May, One And All often feels like it’s taking on water while drifting further out to sea.

The performances are solid - Goodbye Lenin! actor Florian Lukas is the standout - but ponderous pacing makes this true-life tale a lot less enthralling than it might have been.

Ridiculous premise and hilarious acting which is mostly famous for the Lolita-type Brooke Shields cavorting in tropical settings.

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

Perhaps no more absurd than the Verhoeven version, but certainly less amusing. Farrell and Beckinsale emerge unscathed, but the endless scrabbling for novelty and reinvention leaves this feeling unaccountably stale and familiar.

Painstakingly shot, but emotionally fallow.

In a year of Bad Moms, Bad Santas and Bad Neighbours, this is, essentially, Bad Employees: another irresponsible-adults comedy, another great cast, and another erratic script. Catch it for McKinnon.

Another summer threequel, another case of slipping standards – not so much in the visuals, which remain predictably impressive, but in the all-important gag rate. To waste both Donkey and Puss is a crime…

Lyrical in style and presentation, this drama alludes to serious issues but does not address them. Enjoyable stylistically, but not substantiated beyond glossy advertisement.

Bond without the style and Team America without the bellylaughs. The moronic script and nonsensical plot are good for a snicker, though.

Plenty of pungent ideas and a nice line in urban terror. The final product falls short of the best in Brit horror, though.

Zoinks! The Great Dane’s big-screen return has murderous robot bowling pins, escapades in abandoned amusement parks and exciting airborne chase sequences — but nowhere near the joke-rate an enduring character like Scoob demands.

It looks fantastic, Gru is still loveable, and smaller viewers will be engaged enough. But Despicable Me 4 stalls in its overstuffed plot and its lack of an interesting narrative.

A few memorable scenes but this doesn't keep up the pace or plausability sufficiently.

Poor remake of the Korean thriller.

If this ‘power corrupts’ potboiler had been made in the 1990s — with, say, Andy Garcia, Gene Hackman and Kim Basinger — it would already have felt old-fashioned. Forget it, Jake, it’s no "Chinatown."

Like all Meyers’ films, it’s more about interior design porn than real human emotions and drags on for far too long. Still, Streep, Krasinski and Baldwin are so good, they almost make it work. Almost.

Unoriginal, unfunny superhero spoof with a bewildered cast and an obvious plot.

It’s a different kind of Tomb Raider, certainly. But for an adventure film, it’s disconcertingly dull.

Hampered by a script that fails to make the central love affair work and few new ideas while they’re stranded at sea, even the best efforts of its talented lead pair can’t keep this afloat.

In the absence of any genuine emotional wallop, it is the directorial pizzazz that pulls you through. Just about.

A fable that leaves us unenlightened at the end, it is a curious, worthy failure.

Fun musical numbers and cartoonish humour give way to a bland sermon about the evils of the music industry.

Never magical, this hotchpotch of colourful, unrelated snippets is certainly a mystery.

Fleeting charm and pretty packaging will leave you partially satisfied but later craving a bolder film that puts its battle-worn title character to better use.

Visual inventiveness and spectacular casting can’t quite salvage a muddled fantasy epic that, if it were a magic mirror, would be held together with gaffer tape.

Even by the less-than-stressful standards of filmmaking for kids, this is disappointingly by-the-numbers effort.

Though Farrell does great work and the film is a visual feast, Ballad Of A Small Player is an impenetrable story of redemption that’s both too obvious and too baffling.

Lacking the bite of "Attack The Block," Stiller and co. are happy to fall back on their usual shtick, with director Schaffer providing barely enough juice to power the laughs.

Boasting more star power than all the Anacondas put together, but noticeably fewer laughs, what could have been a fresh take on familiar material ends up a regurgitated mess.

Cleaner has good people behind it but this British attempt at a Die Hard ends up just being a bit of a mess. Yippee-ki-nay.

The chief horror here is the cliffhanger promising a third instalment.

Despite some choice improvisations, we're given no running gag as endearing as the first film.

Despite the gusto its star brings to the role, it's hard to ride shotgun on Hector's voyage of discovery.

Moore just looks confused. He obviously wants to do his thing then hit the bar for cocktails, but John Glen is nagging him to add a roughness to the slick exterior. Equally, it just doesn’t fit. The news is clear, there’s only so far you can push a Bond before it breaks.

With Almodovar's early work, it was all about extravagance with his later work such as Talk to Her and Bad Education aiming more for the intellectuals. It's a surprise, then that this film lacks both the flamboyancy of his earlier work and the depth of his latter, landing somewhere unsatisfactorily in the middle.

No fun at all.

Parochial pub-based piffle — like a pint that’s gone a bit flat. But you can’t doubt its sincerity.

Mel Gibson miscasts himself in this fairly dull unoriginal movie.

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.

A colourful and stylish romp, for sure, but a feeling of restlessness sets in long before the series of false endings that finally bring it to a close. Time passes, things happen, but nobody emerges very much wiser.

You’ll need a magnifying glass to find the jokes in this send-up of other, better Holmes screen adaptations. With stars this funny, there are inevitably some moments of mirth (several of them onion-based), but it falls well short of their previous team-ups.

Well-meaning but unfortunately misjudged, this clichéd melodrama is a minor stumble for Harry Styles’ continuing conquest of cinema.

Hardly likely to convince anyone that remakes are worthwhile, Overboard ekes out laughs but fails to add the romance to the comedy. We’d leave this one in the water.

An odd, messy, misjudged shambles. You can’t fault the earnest tone or the plucky performances, but you can fault almost everything else.

Like Guy Ritchie’s King Arthur, this tries hard to do something new and exciting with an old formula. It quickly makes you wish for something more traditional and straightforward.

Marshall's film is crammed full of good ideas but doesn't have the cohesion to pull them all together. Less effective than "Dog Soldiers," never mind "The Descent."

The female-first vibe is refreshing but Something In The Water is something old, nothing new, a lot that is borrowed and an eyeful of twinkly blue.

An unrewarding experience that won't scare you, but might make you think twice before opening email attachments.

it is intermittently very funny.

No surprises here, nor many laughs, though the romance has a simple, sentimental appeal.

Shark. Weak.

A second-rate slasher, but it shows the odd bit of directorial promise and a great deal of ambition.

Not even Nicole Kidman playing off Kathy Bates — or Zac Efron singing Cher's Believe — are enough to save what should have been a surefire hit from Hallmark musings and tired clichés.

Slow, ponderous and as shallow as it thinks it is deep, lifted only by an impressive opening and fine work from Damon and Howard.

Overlong, it'll most likely try the patience of audiences now accustomed to a bit more bang for their buck, but it's a great deal of fun for those with a penchant for old-style action.

The film drops from obvious comedy into a ready melt slush which no amount of make-up and special effects can rescue.

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

Fine if you like the band - you'll be treated to some cartoons playing over the top of their Discovery album. For everyone else, just daft.

Unfortunately shallow characterisation, a script so laid-back you can almost hear it snoring and the occasional outburst of hokey dialogue lead to a movie a good deal less charming than it thinks it is.

Even a cast boasting Oldman and Harrison Ford can't salvage his dreary, contrived corporate thriller.

He may look the part, but Timothy Dalton fails the boots, the scuba gear, or the automobiles left him by Moore and Connery.

Despite good performances from El-Masry and Brosnan, this fails to pack the heavyweight knockout punch it sorely needs. Judge’s decision: a narrow loss, on points. 

This was sweet and charming at the time but now it just lacks either the comedy or sophistication of kids' fantasy film that we've all become accustomed to.

It’s not just that Wild Mountain Thyme is bogged down by overripe Irish trappings. It also fails to work on the most basic romcom level — wanting to see a couple get together. Sadly, not even a strong cast can rescue a pot of gold from the end of this rainbow.

More Oh Mama than Mamma Mia!

A misguided screwball narrative sacrifices the performances of talented men for clumsy, baggy rom-com tropes. Bring back Pony and all of Mike’s men – or just release a live DVD of London’s best night out instead.

A defanged variation on the theme that doesn't commit hard enough to be silly fun, beyond a few chuckles.

Despite a wonderfully witty voiceover and the bullish playing of a willing ensemble, this bawdy romp consistently stumbles over its more contrived excesses.

Utterly stupid and full of lazy plotting and lazier dialogue, this is just idiotic enough to entertain on nights when you want to give your brain a rest.

The first film was imperfect but solid as game-adaps go and fans revelled in its clammy shocks. No such luck this time out. Director Bassett oversees a vaporous horror sequel that rarely raises the pulse.

The only obsession on display here is De Palma's - with Hitchcock. It's an unhealthy one too which results in an out of focus rip-off.

As horror, it's a worn-out succession of gory, meaningless, hard-to-enjoy deaths, and too much of the running time is given over to puppets arguing with each other.

As a mindless summer horror diversion, Crawl is watchable if rarely all that thrilling. The movie’s far from toothless, yet often substitutes easy scares for any real substance, and suffers for that.

Well-intentioned, with a strong performance from Andra Day — but uneven human drama eventually gives way to boringly familiar horror tropes. All round, The Deliverance struggles to deliver.

By turns wry and sarcastic, the film does a good job ridiculing the home shopping phenomenon in general and the audience that supports it, but lets itself down with occasional lapses into lame slapstick, dubious plot twists and the kind of soap opera-isms it elsewhere decries.

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.

Dull thriller which isn't very thrilling.

One for fans only.

It’s a film that doesn’t so much invite you to switch off your brain as take it out and dump it in the nearest popcorn box.

An idea that must have sounded good on paper looks a lot less smart on the screen.

Mad Max 2 with Thought for the Day thrown in. There’s some ace post-holocaust action, but you can’t help feel you were invited to a party with fizzy pop and cream cake and got suckered into a sermon instead.

Nowhere near as creepy as the original, nor as effective a scarer.

A few old favourites – like the inconveniently wonky torch and the probably-not-quite-killed maniac – deliver the required jolts, but early promise dwindles to hokum.

It admirably avoids many of the pitfalls of adapting this book, but seems to have lost some of the life and pace as well.

Despite some strong moments, Ginger and Rosa fails to really convince.