There was no way, no matter how much Spielberg flounce was imbued in this sprightly sequel, that it was going to be as good as the original. It isn't. By a long shot. But even two thirds of the way toward Jurassic Park is about a third better than your average buster of blocks.

Potentially horribly worthy, or even irritatingly superficial, the film succeeds simply by not trying to be too clever or too intense.

Zosia Mamet is the major selling point here. In a film that’s lovely but unlikely to prove memorable, she shows she can carry a film with immense charm.

A well acted but unfocused study of one of the 20th century's most colourful characters.

Very of its time but enjoyable for all that.

There’s a good-hearted father and son tale at the heart of the madness here, but the surroundings are sometimes a little too silly for true greatness.

It's a war story with all the action removed and moral conflict inserted in its stead. That you're no longer allowed to boo is bad enough, but asking anyone to root for this bunch of drips is adding insult to injury.

It goes nowhere fast and Kechiche’s camera consistently ogles his female cast but he remains a terrific director of actors, the intimacy and authenticity conveying a real lust for life to sweeten the hefty running time.

Although it’s like being assaulted by a jumping jukebox for two hours, Garth Jennings’ first animated movie has enough bounce and brio to carry the day. Immensely likeable.

Nobody does vapid bollocks as enjoyably as Tony Scott, and while this isn't as inventive as "Man On Fire" or as compelling as "Crimson Tide," it's still the right side of dumb.

An absorbing, well-acted psychological thriller that loses its grip as it slips into sensationalism.

Driven by a boss Jeremy Allen White performance, Scott Cooper’s Bruce Springsteen biopic — just like its subject — finds its true voice once it stops trying to play the hits.

A solid bit of high-concept B-movie fun, establishing Josh Hartnett as a credible action hero, and James Madigan as a genre director to watch.

Genuinely creepy, satirical and occasionally daft horror tales with a distinctly moral bent.

A romantic-comedy that packs charm, humour and warmth in spades.

The plot is insubstantial in the extreme, but Rae and Nanjiani are so cool, and their loose, free-flowing improv so winning, that you probably won’t care.

Despite the schmaltz this reviewer lapped it up, not least for the engaging teens, including Alicia Witt, and the spectacle of Dreyfuss strutting his wily stuff to Louie, Louie.

It’s not a hugely innovative biopic, covering just a short period of Bader Ginsburg’s extraordinary career, but this is still a vastly inspiring account of the fight for equality.

While not always penetrating the myths around the man, this is a hugely entertaining look at one of Hollywood's larger than life figures.

With Neeson on fine form and an encouraging start, it’s a shame that this gritty crime drama feels the need to erupt into a full-blown action movie by the end.

Possibly not the worst animated feature the House Of Mouse has produced, but certainly stumbling around the darker recesses of the Disney vault.

Falls into the "interesting failure" category.

It's charming enough.

Though the story occasionally stretches credibility, the warmth and wit so reminiscent of the original Bridget Jones's Diary propels you along, being due in large part to the return of one woman: director Sharon Maguire. You feel her filthy, funny thumbprints pressed on almost every scene.

There’s not a lot of consequence to this bizarre meeting, or really the film, but as a character study of two men alone at the top, it’s both very funny and quietly astute.

By driving back to the core homespun wisdom of Cars, the third film is a course correct from the second. But this is still not vintage Pixar.

It’s never quite as satisfying an experience as Schitt’s Creek — but thanks especially to a sparky trio of actors, Daniel Levy’s directorial debut is strong when it comes to the heartache of grief and the importance of friends.

It's scatty, scrappy and thoroughly OTT, but then that's like the characters themselves.