With so many high standing peers (both contemporary and classic), it just doesn't have the muscle or the nous to make an impression.

The players are a colourful bunch, the film referencing is smart, the football satire sharp and there are delightful moments of visual imagination in the appealing animation.

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

Less a hangover of a sequel than a satisfying belch to rid the world of the original.

In spite of A-list acting and directing talent, this is a tick-the-boxes recovery and redemption true story that never rings true.

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.

A large step backwards for a promising director and far from the return we'd been hoping for.

Gothika never delivers anything more than the occasional, cynically engineered jolt and often drifts close to provoking giggles.

A bizarre, hopelessly muddled fantasy that's likely to induce utter bewilderment in its target audience.

Ironically, given the mantra for its main characters is about embracing the weird, The Addams Family 2 does little that is out-there or different, delivering a safe, stale 93 minutes. Unlike that killer theme tune, it never actually clicks.

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.

Swank’s moving performance, the period dressing and beautiful planes all appeal, but dramatically it doesn’t really soar.

Neither terrible, boring nor soporific, just not very funny.

Fans of the book will be pleased that most of its highlights remain intact - including Dilbeck covering himself with Vaseline - but overall this is at best patchy, and, more damagingly, not funny.

A totally improbable scenario is hardly rare for a romantic film, but it’s harder to look past when characters are so thinly drawn. Pleasant enough but instantly forgettable.

Despite the talent on show, there's little to distinguish this from any other bland family comedy.

Tonally, Baywatch veers all over the place like a drunk on a speedboat, making for one of the most lacklustre comedies of the year so far.

A maudlin adaptation hampered by low energy and lapses of logic, The Secret Scripture does a disservice to the book it is based on, and the Irish history it plunders.

The movie provides a fair number of laughs, even if you can't help wondering how many of them were actually intentional.

A poorly written, directed and acted imitation of the first. Not funny, not clever and, crucially, not cool.

A satisfying come-down by the director, who stays safely within, rather than pushes against comedy conventions.

What fun there is to be had is undermined by drab 3D, hacked-out dialogue and rehashed plots.

Serenity is a genuine headscratcher, baffling on almost every level. Badly scripted, strangely acted and poorly pitched, there is so much to pick over it’s hard to know where to begin. Sometimes the best of bold intentions are just not enough.

If you just want to look with admiration and Johnny and/or Angelina – and why wouldn't you? – this offers the full scenic tour, but it's one of those frustrating almost-good films which never really catches fire.

Lopez throws everything at this, but even major movie-star charisma can’t make up for the recycled story elements, tired exposition and endless psycho-babble. Maybe the machines can take over and do better.

Individual sequences are all impeccably assembled, Rourke's grizzled vet chips in some memorable deadpan dialogue.

If even a tenth of the care and attention lavished on the production design and action sequences had been afforded the script, this could have been an adventure of legendary proportions. As it is, this fizzles whenever anyone opens their mouths.

Talk about a pleasant surprise! Real storytelling, well thought-out and beautifully, at times insanely, executed, with excitement, laughs and fun to make you feel seven years old again.

On one level a fascinating refraction of the Amanda Knox trial into an examination of perception, on another an increasingly trying hall of mirrors.

A couple of good jumps but this Conjuring spin-off is led down by poor writing, anodyne leads and and overwhelming sense of familiarity

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

A frustrating experience. It's beautifully shot, acted and designed, but there's little cohesion in the story. Maybe one day we'll see a better cut, but for now this is a sadly fumbled opportunity.

The Beverly Hillbillies turns into possibly one of the worst transitions ever. With a cast full of nobodies (who are nobodies for good reason, except Eleniak and that's for her breasts) and an uninspired script the whole film is a considerably patchy affair.

An anemic time-waster you've seen before that fails to create tension or generate the suspense this genre cries out for.

The predictable plot and gags make you feel like you’re watching it in cat-years, but there are a few successfully silly set-pieces that will delight kids.

Toying with themes too serious for it and stars too big for it, this fantasy is incalculably less than the sum of it's parts.

Less a Star Trek movie than a middling pilot episode setting up a series that will never come, Section 31 makes for a disheartening send-off for a once great character.

With its hackneyed storyline and critical derision in the US, whispers were that Honey was to be the new "Glitter." It's not nearly that bad, which is a shame since it just skims the embarrassingly blind enthusiasm of which camp classics are made -- instead bouncing along the path of bland and forgettable.

Endless wordplay and dumb slapstick do not a rewarding animation make. Pun-ishing.

Parts of Outcome work a treat (see: Martin Scorsese). Shame, then, that long stretches give in to blunt parody, leaving the feeling there’s a much better movie in here somewhere.

WALL•E director Andrew Stanton weaves together three different stories across three different eras of human history. The result is a streaming epic as painfully sappy as it is structurally ambitious.

Pretty much cardboard, down to the heroic patriotic speeches, and less distinctive even than last year's scarcely stellar "Skyline," which trashed the same city. Things blow up good and Eckhart is a classier actor than his role warrants, but we've all been here before.

Exactly what you’d expect from a crime-caper action-comedy pairing Dwayne Johnson and Ryan Reynolds. Nothing more, nothing less.

A waste of space.

Braindead and done to death, this somehow remains a relatively fun ride.

Experimental and uncompromising, Winding Refn and Gosling’s Drive follow-up is a tripped-out riff on the crime family movie in which The Grifters — literally — go to hell.

With Cage as a harried cop, Cusack as a serial killer and 50 Cent as a pimp, we're assuming the casting department kicked off early on this one. Still, there's plenty in this taut thriller for you to stick around for, not least the reuniting of the Con Air duo.

The third Cloverfield film is just about a Cloverfield film, but definitely a disappointment, trading on its name but not living up to its already muddled heritage. Only intermittently fun.

The moments of fan service might keep the hardcore happy, but for everyone else over the age of five it’s just a succession of loud, bright things happening without any real point.

If you pay out money to see this, you got fleeced.

It's mindless entertainment, but its critical and commercial failure doomed the pirate genre to a watery grave.

It'll split the ranks like a pizza cutter: you might admire it as a Warholian blur of pop art, gawp and gasp at its Hot Wheels-for-real dynamism, or get a headache.

An uneven study of a notorious love story, raised by some superb performances and nuances, but brought down by awkward direction.

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.

This grungy anti-musical will offend just about everyone with its attitude towards women, gays, kids, and the elderly.

A brave effort from Richardson with another outstanding performance from Foster.

Yeah. Light and fluffy it may be, but this is undeniably entertaining stuff.

Despite a handful of cool moments, The Killer’s Game turns out to be one not worth playing.

Hanks, it seems, is good enough to survive any film. The dog, too, works wonders with a standard script.

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.

Depressing and trivial.

Brand fan? You'll likely enjoy his antics. But Russellophobics would be better off seeking out the original.

Powerhouse cameos, just enough sauce and extra anchovies that no one will be complaining about.

Throw in the blatant signposting of every plot turn and mood shift, and what could have been a gripping tale becomes hammy and overdone.

Despite the extended running time jam packed with action scene after after scene it still feels a little short on content.

Setting and performances aside, Damascus Cover is a forgettable spy thriller that bulldozes over its real-life relevance in favour of shoehorned romance and hackneyed characters. Less Mission: Impossible; more ‘Mission: Thrown Out The Window’.

An unremarkable and quickly forgettable B-movie. Jessica Alba makes a decent stab for John Wick’s particular brand of movie vengeance, but she needs better material than this.

Ruinously prioritising chic over content, this is intellectually and stylistically shallow when it should have been dynamic and compelling.

Despite some dazzling animation, this is a mess of celebrity and corporate cameos that fails to capture the weird spirit of the ’90s original, or the ’40s heyday — more ‘suffering’ than ‘succotash’.

A rollicking cat-and-mouse thriller in bad weather. And no dog.

Crackling with energy and fizzing with ideas, this fresh take on Frankenstein is a thrilling adaptation that reinvigorates a well-worn tale.

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

A preposterous premise that never makes sense. A tedious thriller that offers no thrills. An A-list cast reduced to C-list material. Piers Morgan. We can but pray that scientists invent a procedure to remove the memory of ever watching this film in the first place.

It's a good job this works so well as a machine-made movie, because its grasp of political realities is nebulous.

Even John C McGinley (Dr. Cox from Scrubs) can't save this lamest of comedies.

All told, a fairly shameful enterprise, displaying a breathtaking paucity of imagination.

But for all her slinky, undead-chic looks, Beckinsale can't carry the film on curves alone and there's not much else here worthy of attention. Evolution's action sequences are as horribly bungled as its plot, resulting in a string of repetitive confrontations that feel toothless even by the last movie’s standards.

Destined to be forgotten the minute it’s finished, Time Cut is a passable addition to the slash-up genre – acceptable Halloween fare for the fright-challenged, or anyone with a soft spot for the music of Hilary Duff.

Brazenly exploitative stuff, stirring in anything which has done the business in kids' movies previously, this, of course, should have its target audience laughing like drains.

Typically paper thin, the plot and the morality are blown away by the charms of the leading man and a soundtrack that has been hand-picked to get an audience on side. Unadulterated silliness, but harmless fun.

The frenetic action is Assassin’s Creed’s saving grace. Inventively choreographed and beautifully executed, its game-inspired brand of wushu-meets-parkour delivers some genuinely awe-inducing feats.

The lesson to be learned here is that movies are far more complex than music videos. Most videos require little or no thought of plot, structure or characterisation, but look great. Which is probably why Williams is so good at them.

Morita still charms, Macchio still tightropes between petulence and raw optimism, whilst the fight scenes are competent enough to offset the woeful romantic sub-plotting.

There is much pleasure to be had watching a born storyteller juggle more balls than even he can carry.

It’s predictable and troubled by continuity errors, but as undemanding romantic comedies go, it’s a pleasant enough watch with a heartfelt script from debut writer-director Tom Gormican.

Cowering in the shadow of the Picture Show, this sequel of sorts builds on none of the risks take by its predecessor.

Commercially it looks a disaster. Artistically, if very far from a triumph, it’s interesting, almost held together by its charismatic stars.

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

For a while, its crassness is amusing, but as the plot sets in, it gradually turns into a stultifying bore.

Loud, silly and tired. Aside from an almost-fun Jackie Chan cameo, this is enough to give anyone a severe nut allergy.

An immensely enjoyable slice of romanticised fisticuffs, this is a Western in every respect except the stetsons and six guns.

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.

Jim Caviezel is a one-man scourge of child predators in this well-meaning thriller that doesn’t entirely deserve to be written off as culture-war propaganda.

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

If you can make it through the bland schmaltz of the first half you'll be rewarded with a spectacular blast of sustained action and the promise of even better to come. This could be the start of something great.

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

A mirthless shot in the dark that misses the target by some distance.

Herrington stages his action efficiently enough - the opening car chase manages to put a couple of spins on a hackneyed cinema staple - but is let down by his own script which seems to have been hanging around in the water so long it's become bloated.