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.

Some developments seriously stretch credulity and the dialogue doesn’t always ring true. But the performances — including a sinister, matronly Kerry Fox — are as enjoyable as the tawdry film noir vibe.

A well told, beautifully acted drama that offers nothing new but a comforting level of familiarity and cosiness.

Well above the standards of your average romantic comedy, it's funny, sexy and smart. It's just not smart enough to stick to its guns to the end.

Eastwood hits all the right notes in exactly the right order, but it’s his least personal film for a while.

Initially, the film works well as a tense, teasing suspense vehicle. But one of Dead Calm’s major problems is that it brings to mind ideas and plot similarities from so many other films that you are constantly being reminded of its own rather humble status.

Like every one of its songs, it makes a lot of noise about nothing much and cockily straddles awfulness and greatness. It's enormously entertaining nonsense.

An uplifting film that cemented the reputation of its star.

If you enjoy Gondry’s brand of homemade art direction then there’s plenty to delight early on, but it’s all wallpaper.

Like Queen, Bohemian Rhapsody is three parts good but not terribly exciting, and one part absolute joyful, fabulous entertainment that makes you forget everything else around it.

A quartet of great performances and gorgeous scenery go some way to compensating for some strange variances in tone.

Skewers the action genre while also finding room for sheer madness. We've still yet to see the equal of Ron Burgundy, but this latest offering is a wonky yet worthy addition to the McKay/Ferrell pantheon.

It's no Anchorman, but it's several steps in the right direction.

It's a shame the suggested theme of identity remains undeveloped, but there are enough laughs and splashes of nostalgic glamour to excuse that.

Goofball fun that will have kids - big and small - rolling in the aisles.

Director Chloé Zhao’s entry into the superhero world is assured, ambitious and told on a dizzyingly cosmic scale — but even it can’t escape the clichés of superhero storytelling.

Brimful of glorious sounds, this affectionate fan letter says as much about Pops Staples's artistic and political evolution as it does about his devoted daughter, one of the all-time greats.

Ryan and Broderick, while individually first-rate, don't combine as sexily as they ought, making the inevitable outcome a little too pat in an otherwise genre-bucking affair.

Tolerably exciting spycraft, but stuck with a see-through plot. Washington and Reynolds are watchable, but not exactly stretched by these roles.

Always intelligent and thought-provoking, it's a welcome return from Amenábar.

Plot-wise Ocean’s 8 cleaves closely to the tenets of Heist Movie Lore but does little to enliven or tweak the formula. It lacks the jazzy swagger of Soderbergh’s trio but delivers a fun, likeable romp built on the charm and charisma of its cast.

It’s long and sometimes gets swept astray by currents of family drama and period detail, but Ridley’s plucky determination and can-do energy carries the whole thing along. The result is an old-fashioned inspirational pleasure.

Handsomely crafted, with meticulous performances, yet it plays out drily and in monotone.

A simplistic portrayal of historic race relations boosted by terrific performances from some of the best actresses working in Hollywood today. Sure, it's corny, but it mostly works.

If you like fast food movies that you digest and then 10 minutes later forget what you had - or if a simple evening’s entertainment is what you’re after, this will certainly do the trick.

Disney’s adaptation of the first book in T. W. White’s colourful Arthurian trilogy The Once And Future King (which also served as the source for the musical Camelot) is formulaic matinee fare, competent and sprightly but undistinguished.

This isn’t your average against-the-odds survival story.

Immaculate has the look of something as lightly spooky as the Nun films, but is prepared to go a lot further — abetted by a committed lead performance — than your average haunted convent picture.