By no means the disaster many might have expected following its years-long delay. You’ll like it. Not a lot, but you’ll like it.

Landis' latest keeps you laughing not with it's originality (of which there is little) but with it's confidence to out-joke it's predecessors on this much-trodden ground.

Flawed, certainly, but by no means the horror-show its paltry box-office performance would suggest.

Not the reunion between Lau and Leung that fans might have been craving, nor the decadent deep-dive into Hong Kong’s boom-time that the film could and should have been.

A rare film in which the style IS the substance.

A heck of a debut from first-timer Shawn Simmons, and another powerful argument for A-list status for Samara Weaving. Bring on the sequel, which is obliged to be titled Miny Moe. 

Midway is a big, bold, brazen attempt to detail one of World War II’s most significant moments. But in a post Saving Private Ryan-Dunkirk landscape, it feels astonishing anyone is still making war movies like this.

An affectionate and entertaining tribute to the Western - but, Estevez aside, Young Guns II doesn't exactly add much to the old genre.

Very, very low-brow.

Hiddleston and Olsen impress, and the music remains golden, but this is just another by-the-numbers biopic.

The leads work hard and there’s an attempt to add fun via cheesy music and Salma Hayek, but hackneyed dynamics, half-baked action sequences and saying “m#th&rf$ck*r” does not a Shane Black make.

In the world of Mob Land, nothing good lasts. Disappointingly, despite the cast’s best efforts and a few striking visual flourishes, nothing good lasts in the film itself either.

The Wild roars back from a rocky opening act to a storming last reel, just managing to claw its way above comparisons with "Madagascar."

A disappointingly tame and unimaginative effort, which throws away much of what was best-loved about the original and fails to find worthy replacements.

Everybody is good at one thing, they say; for Emmerich, it's destruction.

In this stereotypically-fuelled moralistic gangster movie, the plot is poor, the acting worse and standing at three hours, proves about three hours too long.

With Hercules, Brett Ratner and Dwayne Johnson are out to entertain you — no more, no less. And that is just what they do.

Here is a film fully xenophobic, abhorrent film, touting guileless version of military honour, but with Jack Cardiff’s furtive camerawork and some excellent editing, it sucks you in to its disturbing heroic sweep.

While not exactly poised to bother the old grey matter too much, will provide a great night's entertainment for sitcom lovers everywhere. But doing for childbirth what Four Weddings And A Funeral did for nuptials remains an unlikely proposition.

It's safe, it's mainstream and it's silly, but Guttenberg and Hannah strike up enough chemistry to give this big budget apparition at least a little depth.

A largely uninspiring re-tread of a superior film, this has some decent moments and enough gnarly deaths to keep horror hounds vaguely entertained until the inevitable arrival of ‘Bird Box Santorini’.

If the series wants to become a franchise, a rethink and new blood will be necessary -- maybe Banderas can get mortally wounded in reel one of The Son Of Zorro, passing on the mask and sword to, say, Gael García Bernal.

The truly effective emotional arc is handed to the furry member of the cast.

Scabrous, watchable and deceptively provocative, Jon Stewart’s political parable may be slightly out of step with the political reality of 2020 — but Carell and Byrne do enough to earn your VOD vote.

Cute, cute, cute. No bouquets for originality, but it pushes all the buttons of this mini-genre, and Heigl and Marsden ring dem bells.

Despite some fun action excess and an impressively committed performance from Bill Skarsgård, Boy Kills World is a muddled, tiring mess, favouring violent shocks over cohesive storytelling.

The film strains in two different directions, half trying to stay true to its based-on-fact roots, half wanting to ditch all that and become a ridiculous farce.

Competent and well-cast, but it crams too much into the runtime and loses the elegance of the novel.