Hill remains a master of action pieces and is even director enough to get strong performances from his bunch of dressed-up pop stars. But this supposed sure-fire thriller, from a script that was called The Looters until the L.A. riots got in the way, fizzles like a Molotov cocktail with a soggy fuse.

Life stinks, Brooks' character stinks and the film, after all the Brooks magic in the past, stinks.

After the success of Wayne's World, much was expected from Myers and this is a distinctly average comedy which failed to deliver. He is enjoyable as the neurotic Charlie as well as his father but the concept itself is just a little too unconvincing.

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

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

A witty and touching father-son tale. And at its centre: a startling debut from Will Tilston, whose compelling performance ensures its emotional moments land successfully.

Pretty as a picture, but emptyheaded as hell.

More The Magnificent Seven than American Sniper, this flag-waving true story is an effective — if overly simplistic — neo-Western that's eventually carried over the line by a sparky ensemble cast.

It has great performances, snappy one-liners and a likeably tricksy structure, all wrapped up in an affirmative antidote to life’s daunting complexities. Welcome back, Woody.

Greg avoids the curse of the three in the third outing for the Wimpy Kid. Hardly groundbreaking but plenty of fun for its target audience.

Although downbeat, this celebration of the US military is done so expertly you forget that at the time it is set Coppola's idea of a great film was You're A Big Boy Now.

A patchy, hit-and-miss comedy with a few outrageous highs and a lot of just-okay padding, Brüno suggests that Sacha Baron Cohen's in-your-face fool routine sadly isn't working any more.

Scruffy and overstuffed, but contagiously good-natured. And frankly more films need to feature showdowns at abandoned alligator-themed amusement parks.

An exuberantly bad-taste ode to our poochy pals. Dumb & Dumber, but for dogs.

Despite a plot that should be simpler, Get Smart is as big on action as it is on laughs and works because it?s less a tired spoof and more a quality comedic adventure movie in its own right.

Alicia Vikander gives a graceful performance and the lavish period production shines, but unfortunately this is more fizzle-out than fire-starter.

With a sharper focus on race and plenty of real-life horrors to draw from, Gerard McMurray brings a fresh perspective to this splashily satirical prequel. If only its action was as punchy as its ideas.

A monumentally misconceived sequel, Escape from L. A. is the huge, shonky blemish on the magnificent history of John Carpenter and Kurt Russell.

Despite a second act lull, Connolly convinces in this cute and charming comedy.

Eddie The Eagle turns a long-running joke of British sport into a crowd-pleasing story of inspiration. It’s a solid gold winner.

McKellen has fun as the bitter, biting Erskine, but the plot takes so long to come together that at times he’s the only thing holding the audience’s interest.

M3GAN 2.0 is more absurd, self-aware silliness: a riot of timely tech paranoia, with almost no horror but a ton of successful comedy. Slay, queen!

A remarkable ensemble in an uneven patchwork of loss, longing and the urgent necessity of a societal rethink.

Time will tell if it’s worthy of being talked about in the same breath as Easy A, Clueless, Booksmart and the like, but Amy Poehler’s teen comedy is smart, funny, likeable and winningly performed. Moxie by name, moxie by nature.

Lewis Gilbert, and two career best performances from his leading actors, give this film such energy it leaves the pleasant aroma of life and possibility.

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.

Adorable. Ad-or-able. It will melt even the coldest heart.

A key film from the movie brats-era, and quite possibly Milius best.