Creepy rather than scary, and more a ghost story than a monster movie, this has a good heart but feels a little toothless for something with so many killer robots.

Exciting in parts, Meryl Streep and Kevin Bacon doing their best, but arc of suspense doesn't quite bring you to the edge of your seats.

A most fascinating disaster of genre making.

Zoo is the antithesis of edgy, an overlong, all encompassing experience that despite Crowe's integrity and lightness of touch doesn't deliver the emotional experience of, say, "Jerry Maguire" or "Almost Famous." Still, it is good to have the righteous dude back.

A loud, careering thunderbolt of a bipoic, that leaves behind an imprint of the myth, if not enough of the man.

Interesting but flawed.

It’s all a little too lightweight, and not above corniness and sentimentality, but it does earn its little emotional breakthroughs, modest as they are. And the sense of time and place is vivid.

Bigger, weirder, and just about funnier than the first, the second Shazam! remains entertaining despite some tiresome plotting. And who doesn’t want to see Helen Mirren as an all-powerful Greek goddess?

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.

A persuasive, warts-and-bolts depiction of warfare from the guts of a tank yoked to an overwrought, sub-Private Ryan account of innocence under fire — so a hit and a miss.

Sound tricky? It is, and all a little too cutely so, the switches back and forth between realities ever more contrived and eventually tiresome, prompting giggles of relief as the storylines painfully draw towards a soap operatic convergence.

If it’s missing the charm and Murphy’s magnetism from the first film, Coming 2 America delivers a broad, serviceable return to Zamunda.

A sometimes clunkily executed true-life story which at least has potency in its blend of subject matter and lead actor. Despite often being hard to watch, this is Rosamund Pike’s best work yet.

Six Feet Under scribe Jill Soloway offers a wry perspective on married life as Temple's stripper-with-a-heart is lobbed into this domestic yarn like a firecracker in an arms cache.

Formulaic, yet scrappy, and extremely funny in fits and starts, General Aladeen is the first of Cohen comic creations to get a better vehicle than it probably deserves.

More solid Prime Video Sports Doc than Subject-Transcending Asif Kapadia Investigation, Twelve Final Days is nonetheless an entertaining, occasionally illuminating and at times surprisingly moving look at the final bow of a genuine tennis legend.

Part fever-dream, part supernatural thriller and not entirely successful as either, Louis Drax is nonetheless watchable, bolstered by provocative themes.

Centred by a committed, affecting performance by Noomi Rapace, Lamb gets over its longueurs and missteps with interesting ideas, filmmaking craft and a unique tone of voice. Also includes some of the best animal acting of the year.

More madness in the midday sun than Midnight In Paris. Baldwin, Cruz and Davis shine in a farce that overstretches itself into bellylaugh hits, but also some satirical misses.

This does a serviceable job homaging '80s actioners but not a whole lot more. Go for the explosions, zone out for the plot.

Forman and screenwriter Michael Weller brought a sense of coherence to the original freewheeling structure and Twyla Tharp's choreography imparted an infectious dynamism. But, the profanity, nudity and disregard for the fourth wall that had made the stage show such a sensation were lost in the translation.

Strongly performed by a fresh-faced cast, A Paris Education is familiar and doesn’t completely grip, but is an enjoyable celebration all the good things in life; films, arguing about films, friendship, love, politics and Paris.

Charming in that neurotically adorable way Charles Schulz established over many years, this is a fond continuation of the Snoopyverse.

DreamWorks Animation’s most heartfelt series bows out with a beautifully designed finale, but the long-awaited emotional goodbyes for its beloved central duo don’t quite soar.

Joel Edgerton once again proves himself a gifted filmmaker — but for all the craft, compelling performances and good intentions at work here, the drama itself falls somewhat short.

A sort of kiddie creature-feature with a big red heart, Clifford offers solid family fare with moments of throwback charm. Not quite a 12/10 on the WeRateDogs scale, but still a good boy.

Highly likeable, pleasantly unpretentious and plenty amusing.

As Cunningham goes about his work chronicling changes in fashion and the city he loves, a portrait emerges of a man deserving of ever bit of the respect and esteem in which he's held. There's few sharp edges or dirt digging, but it's no less engaging for that.