Lacking the style and scares of the better Conjuring movies, Annabelle Comes Home plays its tantalising spookhouse concept a little slow and far too straight.

Cox evidently harbours a profound love for his homeland, and it’s nice to see Alan Cumming and Shirley Henderson speaking in their native Scottish accents for a change. But while it may inspire you to book a Highland holiday, there’s little else to take away from such a soppy passion project.

It picks up in the last hour, though this is a very minor compensation in an otherwise long and listless film.

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

The obvious chemistry and charm of Sydney Sweeney and Glen Powell counts for a lot, yet not quite enough, in a romantic comedy severely lacking in both romance and comedy.

In the Insta age, this paean to body positivity and living your own truth is more than welcome, but you just wish UglyDolls’ message could be more charmingly argued, adroitly assembled and just plain funny.

Outdated and predictable revenge saga.

A movie that's too patently "heart-warming" for its own good, and boasting one of the most revolting title-songs of all time.

Disappointing. Stone whipped this out in time for the US Presidential election, but it’s hard to see how it’ll make any significant impact on voters. Or why it even should.

In her directorial debut, Robin Wright boldly strikes out for new territory, but the film is all too conventionally fenced in, lacking a narrative as compelling as its own dramatic Wyoming scenery.

Sweet, formulaic entertainment, but occasionally clunky.

Despite Oscar-winner Ariana DeBose's best efforts, this fine-dining horror only elicits a few scares. The food looks delicious, and the knife skills are on point, but genre fans will likely want to eat elsewhere.

What fun there is to be had is undermined by drab 3D, hacked-out dialogue and rehashed plots.

The premise promised Regency class and Romero shocks. The results, though, are only intermittently entertaining, and a better adaptation of Austen than a monster mash.

Instead of bringing much-needed clarity, Allegiant piles on yet more bamboozling mythology to flummox and confound.

The film works best when it taps into the chaos generated by the kids, and there are a number of suitably anarchic Home Alone-style set-pieces.

Interesting material let down by the occasionally pedestrian direction.

A romantic-comedy that isn't funny or romantic.

With such a sprawling and over the top plot, it's hard to remain focused on what's important. Bertolucci is so concerned with the epic quality of the film that he forgets to give it any real substance. Reeves doesn't do himself any favours in his turn as the unconvincing Buddha either.

A large step backwards for a promising director and far from the return we'd been hoping for.

There’s trouble in this paradise: bleak without much of a point to make and bloody without any particular reason, this is an odd attempt at satire that takes a fascinating slice of real-life stranger-than-fiction history and somehow makes it less interesting.

Starts strong, finishes dull. The original Flatliners should have had a ‘Do Not Resuscitate’ order attached to it.

Overdone and not particularly tasteful musical stuff and nonsense.

Murphy occasionally does uninterrupted seconds of shtick, but the film is stuffed with cheap sentiment (a kid with cancer), extraneous characters and embarrassing simplistic politics.

Resembling a kids’-birthday-party remake of 1973's The Legend Of Hell House, this suffers from being not that funny or spooky. Its saving grace is a cast you’re happy to spend time with.

Mildly amusing.

It's part satire of the drug-fuelled clubbing scene, part harrowing disability drama -- and almost entirely improvised.

You know Freddy may or may not be finally dead, but he's looking pretty damn tired.