A fable that leaves us unenlightened at the end, it is a curious, worthy failure.

At times is heartbreakingly sad -- maybe not quite Bambi territory, but certainly moving in its own cute and furry way.

Less fun than last time and oddly unpleasant in its tone. MacFarlane takes potshots at everyone he can find, while shielding the two characters that deserve it most.

The tension revs along nicely and - if you're not heisted out already - there's some suspense to be had.

Chucky's smartest, sharpest outing yet.

Smart, tough and a little bit cool, this is an intriguing opening rather than a slam-dunk in its own right, but the cast - and especially Woodley - make it sufficiently diverting to merit a place in the action franchise ranks.

Sophisticated, adult thrillers are few and far between, and Mothers’ Instinct fills the void admirably. With vivid, striking imagery and top-notch production design, the film paints an exciting, moreish portrait of psychological intrigue.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.

If you can stomach the wobbly lessons, the sometimes clunky writing and the offensively bad Irish accents, this is a perfectly fine thing to pop your kid in front of for a couple of hours.

It’s not for everyone — and should prove more divisive than Host — but Rob Savage, Gemma Hurley and Jed Shepherd have done it again. Grab several friends, and prepare for a chaotic ride.

A satisfying and grown-up flick that boasts all of James L. Brooks' strengths. It's good to welcome back a unique, low-key voice.

Charming and effective feel-good fare.

Still creepy, ooky, mysterious and spooky, but trying to follow the storylines is like sorting spaghetti.

Radcliffe menaced by a hostile bush is far more entertaining as innuendo than actual drama. What might have been Deliverance in the tropics is rather a Dan versus wilderness yarn.

Ridley Scott finally gets to put Cormac McCarthy on the screen. It’s no No Country, but despite its less successful elements is shocking, powerful and — this just in — more gorgeously written than any movie you’ll see this year.

Despite its aspirations to big-screen scares, this delivers more kitsch than a truckload of glow-in-the-dark skeletons.

It doesn’t always successfully balance its comic and poignant tones, but yet another powerhouse performance from Olivia Colman makes Joyride a disarming experience.

If weapons and wizardry get your blood up, and you prefer your movies dark and brooding and minus the sandals, Solomon Kane fits the bill. It may lack The Lord Of The Rings' majesty, but Robert E. Howard fans will lap it up.

Joining the ranks of Sphere, DeepStar Six and Leviathan as soggy Alien do-overs, Underwater finds a few tweaks to the monster play book, but not enough to make it live.

It rarely makes sense – the script vastly overestimates the power of the hashtag as a weapon of mass destruction – but you’re never bored.

It's not big and it's not clever, but it's very, very funny.

Brando rocks the boat with his dodgy accent and lowers the tone as history gets rewritten as vanity project.

More shallow than The Shallows, and lacking the depth of even Deep Blue Sea, this has chuckle-worthy moments but will be forgotten roughly 47 metres down in the lower-echelons of shark cinema.

Escape Room is like The Crystal Maze with more death. It’s fun at the start then loses its way, but it’ll do until ‘Flossing: The Movie’ comes along.

Good intentions, vivid setting and TLJ on top form do not make up for a lack of anything truly compelling.

It’s a different kind of Tomb Raider, certainly. But for an adventure film, it’s disconcertingly dull.

There's more here for the under-tens than over-, but it's still charming, amusing and energetic enough to win you over.

Making a killer-doll movie out of decent component parts should have been child’s play, but this misses the mark.