Despite an impressive bag of special effects tricks, old Fred is starting to resemble one of those dead horses that studio execs insist on flogging.

At a time when teen outsiders are having their time in the spotlight, Stargirl feels like a relic, and a prompt for Disney to do a better job at capturing contemporary high-school culture.

A starry trio and suspenseful filmmaking can’t save this apocalyptic thriller from collapsing on itself.

A spectacular misfire from a director who should have known better.

Despite some smart, brittle dialogue and the classy cast, this seldom rises above the routine and is basically a bittired and terribly 60's.

Good idea to cast the brat pack in a Western but this was badly realised and altogether a bit flat.

If there were a special Academy Award for Contrived Premise, this picture would be a hot favourite to scoop the statuette.

Despite the odd strong moment, this Bloodshot is anaemic.

Deeply misconceived and steadily unfunny, this feels longer than its running time. A few moments of emotional honesty between mothers are the only bits worth watching, but they're too scant to save this mess.

The stiffness in the writing and general lack of subtlety leave this feeling underwhelming and overwrought. As a moral fable, The Forgiven offers little genuine critique.

Another "Hangover" was too much to hope for, especially as this was scripted by committee. It's a bit funny but also quite a bit nasty.

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

The early franchise frights are missing. There's some ironic light-heartedness in the nuptial set, the religious overtones are distractingly self-conscious.

A grumpy Ben Affleck can’t save this confused thriller that has as many twists as a trepanning drill, and is about as likely to leave you feeling lobotomised.

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 no "Battlefield Earth," but it's no "Dune" either. And, no, before you ask, it's not destined to be a cult classic.

A low-grade comedy that'll have Jonathan Swift turning in his grave.

It’s well-intentioned and pretty, but not much else. Occasional stylistic flourish aside, it offers nothing we haven’t seen before, buckling under the weight of its own conservatism.

A prime example of what works in a book not working in a film.

Writer/director Peter Landesman has turned out a film that nonetheless remains desperately conventional and never communicates that sense of inspiration.

It's a great set-up but sadly the plot unfolds slowly and with little action, playing like a short story.

Crossbreeding superhero tropes with horror staples was an idea laden with promise. Brightburn is enlivened by trademark James Gunn black comedy, but hamstrung by sketchy writing and a botched sense of dread.

A wasted effort with a limp storyline that fails to do Michael Crichton's book justice.

Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

It's not nearly exciting enough and at an hour and twenty minutes is overlong for animation fans, yet by virtue of the fact it's a cartoon, it presents itself as too childish for older live action devotees.

An otherwise mundane rom-com that doesn’t know how to handle its one point-of-difference; and even that isn’t as much of a big deal as its writers think it is.

Well-acted by the superb ensemble cast but there just isn't a likeable character amongst them to care about.

Though well directed, Thewlis and Di Caprio simply do not gel (John Malkovich and River Phoenix were the original cast choices), the latter is too hyperactive in delivery, the former too static in expression.

In flashback, we see the pair's friendship develop through their childhood, but despite the film's heavily symbolic tone, little is revealed about either of the characters or indeed the Vietnam War.

A hyperactive hot-pink mess of a movie, which fails to elevate its cubic source material and revels in that failure like it’s achieving something.

A creaky script which avoids tackling the morality of Castle's actions, while Hensleigh doesn't do himself any favours by slowing the film's momentum with leaden editing.

An uncomfortable, if intriguing, mess.

Depardieu is his usual charismatic self but the script fails to translate well with the generic traits suddenly appearing so much obvious in English.

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.

Disappoints due to poor structure, flimsy characterisation and insufficient wit.

An instantly forgettable, paint-by-numbers romcom, despite the obvious charm of Witherspoon and Kutcher — worthy of watching neither at your place nor mine.

A botched Guardians wannabe that isn’t half as fun as you’d hope from the punky sci-fi promise of its video-game source material and the presence of Blanchett at the top of the cast list.

A case of a missed opportunity. It references all the right films, but The Snowman comes off as a pale imitation.

The plot unravels in unwieldy dollops, and, despite some adequate special effects (for the time), the whole thing is really a bit of a bore.

If you like Gervais' usual schtick, you might be prepared to overlook the hackneyed plot for the jokes and strong cast.

Despite one or two nice moments and the naturalistic tone, it's all a bit of a slog.

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

It's not hard to figure it out, but Caruso manages to throw in some tense moments that almost -- but sadly not quite -- make up for the film's daft ending.

Despite good performances and an interesting milieu, The Wedding Guest doesn’t deliver as an exciting genre piece or thought-provoking drama. Michael Winterbottom is a master in many areas but the thriller seems beyond him this time.

Considering the danger, spectacular setting and sheer derring-do of its subject matter, this is pretty leaden stuff. Disappointing.

The idea is so great that it's a crying shame that the end product is such a sheep in wolf's clothing.

Though the central performance is impressively raw Farming’s uncompromising bleakness drowns out the fascinating story, making it a far tougher watch than it needs to be.

This energetically charmless 'family' fantasy lies there dead on screen, occasionally twitching at a funny line.

Despite his erotic thriller credentials, Lyne makes a tepid return to the director’s chair with a rather basic adaptation of an intriguing marital character study that Affleck struggles to enliven.

Mike Figgis raised enough cash to make this with a pretty good cast and a lot of technical skill, but it's still hard to endure at feature length.

Nothing more than a romp in Rio, which is fair enough if that's how your get your kicks.

The franchise squeaks past with a so-so sequel that barely improves on what came before. Our only hope is that at some point they'll have to hibernate.

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

Should be judged in context but even then it's a bit high on the melodrama and low on subtlety.

A gentle and prettily appointed romantic tragedy with likeable performances; but there’s a stultifying blandness to proceedings and an implausible final act.

A preposterous, steroidal mess.

This is about as noir as Pete’s Dragon, best to accept its superficiality as a boon - Hackford, at least, gives it a slick exterior - and enjoy it is a vacuous thriller and extended Phil Collins video.

Middle-aged scouse housewives and Willy Russell is a bread and butter combination: no frills, a tad repetitive, but plenty of substance nonetheless.

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

Almost a guilty pleasure. But not quite.

A bold but ultimately doomed effort that will irritate all but cultists of the bizarre and the most rabid fans of Mr. Cage.

Williams' virtuoso hijinking and Daniels' Huggy Bearish bonhomie save this from complete ignominy, but we’ve seen it all before.

While the kids may sing a storm when at last they get down to mixing Beethoven, gospel and rap, in the good clean fun department this is monumentally weak and derivative.

The jokes start wearing thin, and most of the noisy characters become rather tedious well before the rag-bag of thesps finally pitch up on Broadway.

Lambert fails to convince as the action star and somehow it is left to a computer to steal the show.

Timeline takes the most ridiculous movie plot ever imagined and multiplies it by ten.

It’s uncomfortably the work of someone who thinks mass murder is cool and has no feeling for regular humans.

Nicole Kidman has perfected the art of the wronged housewife, but that’s not enough to elevate the shallow nightmare of Holland. This derivative thriller is in need of some Dutch courage.

Ultimately, this has the feel of a lazy literary adaptation of a half-remembered novel.

Oz's movie is well intentioned if a touch too heavy on the PC side of things, but ultimately proves just too uninspired.

In some quarters this will doubtless be hailed as "gritty" and "realistic". Movies about junkies just aren't much fun, however, and to be really powerful or tragic they need to be a lot less hack­neyed and directed with more inspira­tion than this.

Fans of Maggie Gyllenhaal will be disappointed; fans of Mary Shelley will be disappointed; fans of unhinged cinema will be morbidly intrigued.

Win A Date With Tad Hamilton is a valiant attempt to create a love triangle, but ends up getting all its sums wrong.

Pelham One was first class. Pelham Two stuck to the schedule. Pelham Three needs a bus pass.

This is simple, lazy storytelling rendered merely functional by appealing leads and the eternal lure of romantic fantasy.

Thin and predictable, and a flop of awesome proportions in the US, this has occasional bursts of freshness, but mostly leaves you with the nagging impression that Mathis ended up with the wrong guy.

A nice idea, and the setting makes it instantly more interesting to a UK audience, but it’s let down by lapses into cliché and by simply not being audacious enough with its action set-pieces.

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

A muddled Wicker Man-inspired horror that has bursts of style, but fails to find depth beneath its blood-spewing surface.

None of the energy of Mick Dundee's first foray has crept into this sequel, despite it being so close on the heels of the original. A must for lovers of the weathered outback and the even-more weathered Paul Hogan only.

Terrific performance alone can't mask the lack of originality.

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

The big screen was where none of them had gone before, and you can tell.

That this is just about passable as a divorced parent’s weekend treat is down to Roberts’ charm and the timeless appeal of Nancy herself.

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.

Not quite ‘Ready Player One Star’, but this is an odd duck: a Black Mirror-ish concept played for laughs, which ends up getting tangled up in its own code.

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

This  Blithe Spirit dilutes the original’s heady cocktail, serving up a sugary punch rather than a dry martini.

With so-so performances and an immensely dumb conceit, this is snow Christmas classic. Still, it’s less naughty, more ice than we might have expected. 

The blood and gore is all present and correct, but the focus on Kramer's vulnerability and human side sits at odds with his awful judgmentalism. Let monsters be monsters.

Despite good moments and likable leads, this lacks both heart and humour in a confection that smacks of the over-familiar.

A premise neutered by daft supernatural shenanigans, which raise as many questions as they answer.

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.

Loud, noisy, flashy but too rarely chilling.

Now You Three Me, as it should be called, offers ample 2010s nostalgia, but not quite enough brainless fun lands successfully. Put this rabbit back in the hat.

This is amiable enough and perhaps one shouldn’t expect anything more from the team that brought you Police Academy (writer Hugh Wilson) and Major League (director Ward). What really lets this down, though, is the uninspired plot and one-dimensional characters. While it’s true that this was never going to be a high-brow evening at the pictures, the air of familiarity it leaves behind proves to be a major disappointment.

Despite the compelling high concept — and some epic action set-pieces — there’s not quite enough meat on the bones of this dystopian follow-up to make it truly worthy of its predecessor. 

Elba's reunites with Luther director Sam Miller to lesser effect in a workaday home-invasion thriller.