Gibson's future-world may be a cold one, but it should never be seen as a dull one; this is a missed opporunity.

Tarot is a personality-less horror that doesn’t overly concern itself with either character or plot. It’s here to deliver one thing and one thing only: cool kills.

Nice performances, a useful script and a dignified ending all boost this film's appeal, but it is the workable simplicity of the premise that really does it.

Whilst this fly is not as tightly scripted or keenly directed as its parent, it does have pace, breathless tension and the sort of gross-out effects that rules out kebabs for some time after the credits have rolled.

Despite an intriguing premise, an impossible-to-buy plot contrivance and a deeply unsatisfying ending put paid to this sci-fi psycho-thriller.

Predictable and flat, the sort of cop-out horror movie which relies on sending up long-outdated female stereotypes of the matron vs the siren. Nothing particularly refreshing or even frightening resides within.

The truth is, it’s not very good – and entirely without scares. But we dare you to watch it without unleashing a few unintended laughs along the way.

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.

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.

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

Not as smart or as satirical as you might hope, but an enjoyable and often funny look at a mad, mad, mad, mad world.

As action-packed as a holiday nap on a hot afternoon, this is a must-see only for Portakalos die-hards. Still, Vardalos’ sheer affection for the characters means it has a warmth that sustains it through weak jokes.

Fans of Moon and Source Code be warned: Mute is sadly, almost tragically, not worth the wait.

The first film to be based on a line of toys, this might not be the last, but it'd take something awful to replace it as the worst.

Critiquing the very thing it also sets out to do, Genie is the movie equivalent of a dog chasing its own tail, but is (barely) saved from the wrapping-paper pile by the amiable chemistry of its stars.

It's plus points are few and far between - fantastic music, well worth buying the soundtrack for, and the occasional Moranis and Martin magic we would expect throughout - but such rare glimpses merely underline the sheer sogginess of the rest of the movie.

On one level, Stealth is technically breathtaking, viscerally thrilling action cinema of the highest order. On another, it is slavering, state-of-the-art war porn.

An enjoyable escapade and a great introduction to the forthcoming series - just not the seventh Star Wars film fans were hoping for.

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

It’s Liman’s least charismatic action movie and the least developed, but it still packs some cracking action into its brief running time and lays foundations on which a great franchise could be built.

Almost certainly the second worst thing to happen to Bruce Lee, this toothless and tame movie doesn’t even come close to capturing the great man’s dangerous charisma.

Inspired by The Graduate it may be, but despite Aniston’s charm, this confused comedy will not be seducing anybody.

Flashy, fun and light on its feet, Argylle papers over its cracks with twist upon twist — and charming performances from its central duo.

The Hustle buckles under the overbearing weight of its own vulgarity. Avoid the dirty rubble by all means. An embarrassment to the heist genre, an insult to all existing comedies, a disgrace to feminism.

A super-sized second helping, but the novelty factor and some of the charm’s gone. Hey, at least there's more Megatron / Starscream squabbling this time round.

Less pompous than Pet Sematary, this has moments of trashy vigour but is scuppered by a consistently wretched script, Mary Lambert's knee-jerk direction and the usual redundant sequel air of utter pointlessness.

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

It's all a little too coincidental for comfort, and surprisingly short on laughs for a comedy, but nonetheless this is a light, well-meaning flick, improved considerably by Lake's scatty heroine.

Superbly styled in techno-Gothic space-grunge chic, this sci-fi/horror cross-breed is a directorial triumph of reference and homage.

The Kitchen flits through scenes, coming across as its own trailer rather than a full movie. And it makes disappointing use of its great components, wasting three chewy, thoughtful core performances.

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

The first film to be adapted from rather than into a Nintendo cartridge, Super Mario Bros, is a shrill, hectic and tiresome fantasy with little story, less excitement and no imaginable audience.

Clever premise, witless execution.

There are some amusing moments and some good performances despite the poor material, but it's not enough.

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.

It’s far from the perfect storm, but The Hurricane Heist is stupid fun with a belter of a final sequence. Like the sound of a film called ‘The Hurricane Heist’? Then you’ll probably enjoy The Hurricane Heist.

It's not just the saturated ultra-violence which make this film difficult to watch - there is something just not convincing about this vehicle for Costner's darker side. One thing is for sure though, driving a Jeep will never be the same again.

Unpacking classic fiction that has already been adapted a few times, once to critical acclaim, is no easy task. Yet while it’s not completely up to the challenge, The Turning at least offers up enough moody chills and a lead in Mackenzie Davis it’s not hard to root for as the craziness builds.

Director Blanks delivers a wholly pedestrian feature debut in this by-numbers teen horror flick that could give you the impression Scream never really happened.

A bang-on soundtrack will make the hairs on ex-ravers' necks stand up. The plot will have the opposite effect.

A decent cast gives it more credibility than it deserves.

Messy and unlikeable.

A self-consciously grubby and silly slasher that'll be lapped up by gorehounds, but which really belongs on the rental shelves.

The Expendables 3 has its cake and shoots it: armed to the nipples with vast action and bulging A-listers, but over-over-blown and overcrowded. See it for Gibson’s big-bad.

Part mystery, part black comedy, part metaphor for loss, Patrick is a nakedly true original. It also has the best caravan fight since Kill Bill Vol. 2.

For its target teen audience, it's a decent enough movie.

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.

This all feels a long way from Chandor’s glory days of Margin Call and All Is Lost. Save the occasional flourish, Kraven The Hunter is limp, tired, uninvolving superhero fare.

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

It’s no Scream. Or, indeed, The Babadook. But Kevin Williamson’s meta-slasher has solid emotional underpinning and a handful of ace scenes. And Sidney-f*cking-Prescott.

A blockbuster that offers enough quirky pleasures to feel fresh and unpredictable.

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

Comes across as more 80s TV movie than 50s period piece.

The wee'uns may enjoy the forest-based capers but for adults this is no pickernick.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Stupid, with three o's. But also fun, never boring, and never insulting (to anyone other than Dumas) - unlike certain of the summer's A-pics…

Amusing fluff.

More terrible and tacky than one could have imagined, it will soon be forgotten and consigned to the True Movies channel to play alongside television movies about Karen Carpenter, Jayne Mansfield and Jackie Kennedy.

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.

Indeed, the only bright spot in the film is Amanda Plummer — the wacky object of Robin Williams' desire in The Fisher King — with a brief but memorable cameo here as a futuristic nun who swears like a trooper, carries around a rifle and thinks turning the other cheek is kicking a guy in the balls.

The cinematic equivalent of being teabagged without your consent.

It’s neither funny nor charming enough, proving a disappointing treatment of fabulous source material.

Sporadically amusing but rarely inspired.

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.

An unfortunate misfire that has the odd moment of charm and the odder chuckle, but otherwise isn’t worth keeping up with.

Trivialising despair, it’s a depressing waste of a major cast, and an early bid for mess of the year.

The setting is glorious and Dormer is on form, but the scares can’t match either.

There are films that demand sequels, and then there's Miss Congeniality.

It’s quite an entertaining little effort, combining the craziest aspects of classic Hollywood screwball comedy with the kind of fresh insanity found in the great cartoons.

A disappointingly slight offering from a filmmaker that we know is capable of so much more. Shyamalan says that The Happening was his easiest film to shoot. Sadly, it shows.

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.

Not even a decent performance from Richard Attenborough can save this disappointing production.

"Save your last breath...to scream" reads the tagline - we advise you save it for the inevitable sigh as the credits roll on this monstrous B-Movie farce.

Doesn’t deliver a sliver of the fun and thrall the ride serves up in a fraction of the time.

You should feel sorry for the memory of Julia - whose swansong this is - but actually it's Van Damme who commands sympathy.

Belying its title, this is a pretty flaccid offering which fails to gel the comedy stylings of Hart and Ferrell.

Although the film has a ridiculous premise that's no reason for it not to work, sadly the direction it is taken in, it's poor acting, character development and shoddy action sequences are though. Allen stands out as a spunky heroine but she's the best thing in it.

Relentlessly ugly, preposterous and hackneyed of dialogue: guilty on all counts. It will do well, then.

If you’re going to take a hugely familiar premise and rely on easy star chemistry to sell it, you really need the right stars in the right roles and a killer script for all the killing. Sadly this ain’t quite it.

If ever there was a movie equivalent to the one-night stand this is it - not necessarily something you'll remember next day but fast, furious and damn good fun while it lasts.

Utter, unforgivable bilge.

Cox evidently harbours a profound love for his homeland, and it’s nice to see Alan Cumming and Shirley Henderson speaking in their native Scottish accents for a change. But while it may inspire you to book a Highland holiday, there’s little else to take away from such a soppy passion project.

Unlucky for almost everyone. It's a sad day when a Friday the 13th remake is shown up by a My Bloody Valentine remake – couldn't they at least have sprung for 3-D?

Like "Ghost Rider: Low Voltage," this is a surprisingly underpowered excursion into Marvel's mad world by Neveldine and Taylor. More purgatory than hellfire.

Spencer and McCarthy are the superheroes we deserve, but are capable of so much more than bowel-movement jokes in this tepid and formulaic buddy romp.

A nasty little chiller from the Saw director with the evergreen De Mornay on top form.

Unless you pine for second-tier Mel Brooks, you'll find more laughs in the Old Testament itself.

There’s a little bit of heart here, in the story of two people who have lost faith in Christmas for very different reasons, but more often this feels engineered in a lab to provide seasonal spectacle.

It's incredible that a film could be so closely patterned on Carpenter's still-thrilling original movie and yet be so stupid, unscary and plodding as Halloween 4 is.

Themes of self-acceptance and inner strength seem a little out of place in a movie featuring a hound farting at phantasms.

Not quite as dreadful as Resident Evil: Apocalypse, but that's hardly a major achievement.

It has aspirations to be RoboCop but this feels more like autopilot. Pratt is committed and the plotting is sometimes effective, but Rebecca Ferguson’s non-Dredd-ful judge is the only good reason to watch it.

Wasikowska gives it her all, and Cohen shines, but while this is a better film than the first, that was a low bar to reach.

The one saving grace is Lloyd, who gives a terrific and lively portrayal despite some horribly sentimental lines. He is the movie's guiding star, a lone bright light in a string of dud bulbs. Otherwise, beware.

Not a total catastrophe, but perilously close to being one. Is it too obvious to say Imaginary is simply lacking in imagination?

A straightforward camping-holiday nightmare, or a sly, ironic take on the same. It works deliciously as both.

Utterly mindless, but on its own snap, bang, and wallop terms, it works well enough.