Meat and potatoes teen drama.

It’s not doing much daring or different but this delivers a fun, well-made summer theme-park ride, with fast highs and slow lows. Pleasurable, though it doesn’t linger.

Very amusing fun.

A hanging-out movie that’s as close as you’ll ever get to soaking up the time, the place and the attitude. Too slack for mainstream audiences, though.

Not up there with the Farrelly brothers' classics, but still a worthwhile, farcical comedy.

A fun night in with the tellybox, but then it never claimed to be anything more.

Lively’s steely heroine and a propulsive plot ensure you’re never bored, but this is a generic thriller from a simpler time, bulked up by a single strong performance.

Structurally it’s a bit ragtag, but, as your mum would say, it has its heart in the right place. For all its wilful oddness it’s enchanting, imaginative and genuinely moving.

Amusing fluff.

Love Jones is fun, at least for the first hour, after which the melodrama takes over and the characters stop being witty and become schmaltzy instead.

As it is, it’s an aloof conclusion, an unclimactic climax to a stand-alone film.

Proof that Netflix doesn’t just do Kissing Booth movies: given the right talent, they can produce a genuinely compelling high school comedy. And you thought they didn’t make ‘em like this anymore.

A watchable tale of parental dread, propelled by a strong conceit and sustained tension — but let down by its outlandish twist.

There is bound to be a large appreciative audience for this chick flick. But it might not be you.

Plot holes and a mixed tone lessen the impact but Gordon-Levitt holds it together with a strong lead performance.

Given the work lavished on every detail of the glorious backdrop, it’s a pity that the story happening in front of it is so familiar and safe.

True to the Jackass formula, some gags come off better than others, but there's some doozies in its midst.

Stagey filming aside, this is a sharp and controlled study of celebrity obsession.

Fluffy thriller, with moments of unintentional humour.

Scorses's skill as a scene-maker are fully evident and Lewis' quietly rageful performance offers to out-do De Niro in intensity, but neither funny enough to be an effective black comedy nor scary enough to capitalise on its thriller/horror elements, The King Of Comedy sits awkwardly between the two.

Willow is not without its charms - the effects are more than special, the set-pieces suitably epic but it just doesn't fulfill the promise of certain other fantasy films.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

This is actually a very middle-of-the-road movie.

It's charming enough.

Competently made, and enjoyably played. But you do really end up wondering what the point was. Cinematic déjà vu is the most likely response.

Far-out touches and liberal application of metaphor are compensated for by intensity and two mesmerising performances.

Though there's an obvious, admirable effort to supply character development and plot twists, the set-work and special effects - both stylish and stunning - tend to dominate.

While not exactly poised to bother the old grey matter too much, will provide a great night's entertainment for sitcom lovers everywhere. But doing for childbirth what Four Weddings And A Funeral did for nuptials remains an unlikely proposition.