Highly likeable, pleasantly unpretentious and plenty amusing.

A shot in the arm for the classic disaster movie: awesome effects, nail-biting tension and a cast of characters we don’t want dead after half an hour - even, amazingly, the cute kid.

It is, in fact, far from funny, although at moments it does touch upon amusing.

A rather titillating take on a racy historical novel, this is perhaps too ambitious in intent. More time, or more pruning (perhaps they should just have focused on The Boleyn girl), would have produced a richer and more enjoyable film.

The true story of a revered general instigating one of the most daring ploys in military history might seem like the perfect vehicle for Liam Neeson to return to more serious fare, but even he cannot breathe life into some truly terrible dialogue. It’s left to the Korean actors to save the day.

Its restraint might put off thrill-seekers, but if you can endure the wooden dialogue and sloppy exposition, it musters the entertainment quotient of a middle-order Harry Potter.

Despite a valiant effort from Justice Smith, the satire in The American Society of Magical Negroes feels aimless, scattered across a story that struggles to pick a meaningful direction.

We’re all for true, inspirational stories of courage in defiance of evil. But sheesh, this World War II drama is at least as irritating as it is uplifting.

Though it could do with being weirder and wilder, this high-concept mash-up — what if crooks robbed a haunted bank? — features fine work from a brace of rising stars.

Guest star Dan O'Herlihy steals the film as a Celtic joke tycoon (‘the man who invented sticky toilet paper and the dead dwarf gag’) who hates the way American kids are despoiling the religious spirit of Samhain and decides to teach them a nasty lesson.

It’s instilled with the bite and bark of Bilko’s capitalist fervour, and has a fun line in cool, snappy dialogue, although never intending to be quite so broadly a comedy.

Never magical, this hotchpotch of colourful, unrelated snippets is certainly a mystery.

Way ahead of its time, this is a balls-out satire on the disgraceful layers that can lurk just beneath the Avon surface. This is anti-Ferris Bueller and fiendishly funny.

Sugar Hill wants to be very different to the other Boyz in the Hood style films by using a second rate Spike Lee approach but sadly it doesn't make the film any better, only highlighting its failures. With the market heavily saturated with these 'hood' gangster films, this fails to stand out.

Another bravura performance from Juliette Binoche glosses over the flaws in a soft-focused glimpse at the seamier side of student life.

A simple entertainment in a summer of overcomplicated disappointments. Also much harder-edged than you may have expected.

There’s a fine line between depicting the way Marilyn Monroe was underestimated, and joining in with that assessment. Blonde doesn’t always wind up the right side of that line, but has spectacular visual fireworks to spare.

Law's slick, pretty-boy reincarnation is less icy and insensitive than Caine's wide-boy original, so we still have all the painfully confused "What's it all about?" soul-searching.

This was sweet and charming at the time but now it just lacks either the comedy or sophistication of kids' fantasy film that we've all become accustomed to.

Arguably the most imaginative of the horror franchise, with a fair number of truly resonant scenes.

A feminist horror flick that lacks nuance in its feminism and thrills in its horror. But it should be applauded for reinterpreting rather than just retreading the original.

Strong turns from its female leads and Amanda Seyfried elicits more sexual tension from proceedings than "Jennifer's Body" ever managed.

On paper, Don’t Let Go’s premise — a supernaturally flecked crime story with a hint of time travel — should be exciting but it is let down down by workaday writing and routine filmmaking.

For a long stretch of the second act the film feels like doing a long stretch, but Schwarzenegger’s having a ball as Stallone goes through the motions.

Whatever the moral perspective, it keeps you gripped right to the end.

Mildly amusing.

Okay, it doesn’t have an original bone in its body, but forgetting the awful title, Sex Drive has its share of snappy lines and decent gags. It’s also got Seth Green and James Marsden on cracking form, which should never be underestimated.

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.