A caper thriller that's sufficiently zippy to hold the attention. LaBeouf's current notoriety adds extra piquancy to those urban fight scenes.

Take out the BDSM, and Fifty Shades Freed would play perfectly as afternoon thriller on Channel 5. An end to a damp squib of a trilogy which sees Johnson as the only one to emerge unscathed.

Despite some cool action sequences and interesting aliens, the first Rebel Moon instalment is a disjointed ride through an under-realised universe.

Despite the presence of four credited screenwriters, the plot is a rehash of cliches and tired jokes.

A step in the right direction for console-to-screen transitions and a twisted masterpiece of set design. Ultimately, though, it's a little too much like watching someone else play the game.

A big old pile of Smurf.

There is some fun to be had if you're in an undemanding frame of mind.

Heroes in a half-arsed shell.

Utterly implausible and clunkily directed. Rent "Fargo" instead.

A twist-burdened techno-thriller that would be by-the-numbers if it could count.

A decent, affectionate, fitfully funny take on the fantasy genre, but this could have been so much more.

The topical nightmare has potential to get under your skin, but relies too much on familiar jump scares and easy violence to achieve anything long-lasting or truly groundbreaking.

If you came for cute canines you’ll get them, but you’d get more entertainment from an hour of dog videos on YouTube.

This latest attempt to adapt the world’s laziest cat for the big screen just feels plain lazy: pure kids’-movie-by-numbers. The cinematic equivalent of a Monday.

Smart, funny and really quite hot, this is worth a look no matter what you think of "Charlie's Angels."

Re-prehensible, re-heated, and certainly not re-commended.

Not nearly as terrible as burped-out Sandler disasters of recent years, there's enough funny stuff here to remind us of his talent. Still, it's not for everyone.

As dysfunctional movie families go, the Rubins hardly linger in the memory.

Sadly, Donald Trump hasn’t quite found his Leni Riefenstahl: this is a film too embarrassed to be what it is. And shorn of capes and costumes, vigilantism is pretty ugly. Though Roth’s gift for the gruesome gives it a small voyeuristic appeal.

Designed to showcase Culkin at the expense of everyone else, this will have trouble appealing to the adult contingent of the family audience it's aimed at.

Plenty of shock and gore, and David Harbour is more than worthy to wear the horns. But this is a reboot in need of a reboot.

You'd think it'd be hilarious. Think again.

A note to Fonda: even thin, fabulous 67-year-olds shouldn't wear strapless gowns. It's scary.

It’s tastefully shot and Crowe commits to the horrors of Jake’s illness (his seizures are upsetting) but the writing lacks depth, the character psychology is dime-store Freud and the performances are variable.

At a time when television is easier to make than films, it's a pity that a quart of plot in a pint-sized pot is largely to blame for this muddled misfire, which wastes some promising ideas and an impressive cast.

Long-delayed. Arguably not long enough.

Holmes’ wholesome charm keeps the movie afloat, but only just.

Mildly titillating, but not very good.

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

Neil Marshall’s return to his homegrown horror wheelhouse doesn’t reach the heights of Dog Soldiers and The Descent. Instead, it’s a witch-hunt thriller that lacks the texture to be realistic and the no-holds-barred energy to be pulpy. Sean Pertwee has fun though.

There’s too much going on and too little character development for this to become a Christmas classic.

A clunky, lumbering sequel that, like its masked protagonist, has no redeeming features.

It’s genial, with appealing stars and fair giggles.

Flat and unfunny, this merits a second star based entirely on Scott’s cameo. Kev, get thee to a typewriter. You’re so much better than this.

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.

After a gentle engaging start, The Book Of Henry makes an ill-judged move into thriller territory. But the performances, especially from Jaeden Lieberher, are strong and it delivers that rare cinematic treat: a real surprise.

No plot, no real story, no point really.

Competent, but so utterly bereft of any memorable moments that it becomes a bit of a bore. Perhaps it's time for a reboot – guy wrapped in bandages, shuffling around a pyramid, scaring people. You never know, it might just work.

Sadly, proof that they will make absolutely anything these days.

Corny and shakily plotted, it's a disappointing directorial debut from Goldsman.

It's always trying to do something unusual. It has a great lead in Pegg. What it doesn't have is an ending or a clear reason what it wants to be.

The real surprise is that it's a lot of fun, with Sandler becoming more personable as the film progresses, and a couple of truly side-splitting scenes.

The formula for Robin Williams' childish stick wares dangerously thin this time out.

Friend Request keeps up the pace and throws in a few neat twists to keep the plot from stagnating.

An overqualified adult cast and some fun moments can’t entirely compensate for a defanged protagonist and too-static plot. This fantasy desperately needed a little more magic.

A turkey in crow’s clothing.

This swords-and-sorcery throwback has little imagination on display, instead doubling down on computer-generated flair to pass the time.

The novelty factor stops and starts at the 3-D specs: this is a horror movie on tracks, not going anyplace new. Still, there’s some inventive grue-splashing as always.

Another violently unsuccessful attempt to bring this comic book character to screen.

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

A director who can't decide whether he's aiming for high comedy or gritty noirishness combine to shoot the whole caboodle squarely in the foot.

Tonally a complete departure from the rest of the series, which is at once laudably brave and disappointingly unfunny.

Fails on both an emotional and comedic level.

Hammy action yarn with an entertaining performance from Michael Caine.

A slight improvement on Expendables 3, Expend4bles still works better as character posters than a movie you have to actually sit through. To paraphrase the tag line, old blood meets new blood equals tired blood.

It isn’t quite hell, but clambering to the end of this dusty remnant of an idea is certainly purgatory.

The Electric State loses some of the quiet profundity of the original text, but as a breezily watchable retrofuturistic jolly, it has just enough juice.

Nine years on from the first movie but somehow the effects have gone backwards and the charm has gone missing.

A totally unneeded sequel which does nothing whatsoever for the legacy of the original tale.

Blue Iguana grates on pretty much every level, a misjudged hodge-podge of ill-defined characters, tired filmmaking licks and an air of general unpleasantness. It also contains one of the worst shootouts in recent memory.

Smug and lazy comedy that barely raises a chuckle.

Old School with added poker chips? Perhaps. But this Ferrell and Poehler-powered comedy blockbuster has big laughs, an enjoyably grisly streak, and a film-stealing turn from Jason Mantzoukas.

Arguably worse than its sadistic absurdity is the depressing, limited scope.

Enjoyable, if slight.

An absolute shambles of a fantasy folly. Overlong, undercooked, and clogged with enough clichés that even its teen target audience will feel disrespected.

Promising source material and a talented cast are squandered in a stale, rigidly formulaic J-horror wannabe. Slender Man equals slim pickings for all but the most undemanding devotees.

A flowerier adaptation of the Scott Spencer romance than Zeffirelli's '80s version, it's tailor-made for the Nicholas Sparks crowd.

Gauged on a count of wit or originality this doesn't even register.

Some sparks of comedy and fun but largely a flat and unrewarding comedy.

Undermined by a plot that doesn’t make sense and plays like three-and-a-half genre movies fighting for screentime in one overlong one.

Some nice comic beats and a sinister Andy Garcia turn make this far more watchable that the fratty conceit might suggest.

There may not be a laugh every minute, but there are enough to satisfy most devotees of the relentlessly silly, tasteless school of parody.

Double the dads, but half the laughter.

An erotic thriller that's strangely unerotic and devoid of thrills, this is, however, mercifully short at 100 minutes.

Disappointing.

Safe when it's ripping genre jokes word for word, this pallid pastiche never goes for the jugular, the heart, or any other part of the audience, for that matter. It breezes by like the tamest of ghosts, almost unnoticeable.

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

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.

Dismal, cliché-ridden stuff.

Despite some impressive woozy visuals and a soundtrack of chart-topping music, there’s not much to recommend this derivative pop-star drama.

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

An early but strong contender for worst movie of 2008.

Fans beware - your fave two sci-fi franchises have been stripped of all their guile and maturity.

For crying out loud, Marcus -- all you had to do was have Vikings fight Indians! How hard was that?

Absolute tosh. A ridiculous, unerringly tedious plot is weighed down by listless performances from a cast who clearly wished they were somewhere else, despite the sumptuous locations.

Oldman and Seyfried prove to be the big attractions, but Hardwicke's Riding Hood legend still lacks bite.

On paper, this could have been excellent; as it stands, it’s painful and futile for all involved. Much like the Afghan conflict itself.

There are sparks of solid action amidst the confusion, but Max Landis’ script contains too much stilted dialogue to properly ignite.

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

Occasional funny moments but this is very very thin.

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

Delve into the story at your own risk, but embrace the unrepentant stupidity of it all and there’s a zen-like joy to be found in this screenvomit of adolescent violence.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

Don't bother.

A few reasonable action sequences are mired in family soap, making this A Good Day To Call It Quits.

Van Sant's film is cold and the gallery of eccentrics merely come across as vulgar caricatures.

Howard the Duck manages to be two or three types of fun: as a crazy comedy, it has some good risque/sick jokes to go along with its messy slapstick and bland rock music; as a monster movie, it has an outstanding performance from Jeffrey Jones as a scientist-cum-monster and an astonishingly repulsive Dark Overlord of the Universe shows up for the exciting climax.

Perhaps a folly and – Kikuchi aside - too deadpan to be a romp, this is still a decent, colourful samurai spectacle with a classical look (lots of symmetrical compositions) and a story which stands up under multiple retellings.