Slightly better than its predecessors, Sonic The Hedgehog 3 works hard to entertain — it has the odd bright moment — but overall lacks surprise, freshness or anything to set the heart racing. It’s a Saturday-morning cartoon writ long.

It has its pleasures but after the nuance and emotional hits of Love Is Strange and Little Men, Frankie is a disappointment. Not even la Reine, Isabelle Huppert, can elevate this one.

Neither Bautista nor Jovovich can elevate this ugly-looking misfire. Fans of entertaining fantasy action need not apply. 

Devoted Trekkers will have to see it to keep abreast of the ships’ logs, but Saturday night at the flicks fun-seekers are apt to concur this one only fires on stun.

A few laughs are salvaged due to the sheer quality of the talent present.

It has charm, comedy and a populist concept, but is structurally weak and too self-consciously multicultural.

The whole madcap production is at best faintly amusing, at worst, painfully protracted

The first film to be adapted from rather than into a Nintendo cartridge, Super Mario Bros, is a shrill, hectic and tiresome fantasy with little story, less excitement and no imaginable audience.

The big surprise and highlight is not in the clumsily structured, jerky plot of the monotonous mood but an uncredited Robin Williams, actually chilling as a mad bomber anarchist.

A joyless and pointless remake. The new take on Bodhi and co. squanders a potentially enjoyable premise and rarely delivers, except on the occasional stunt.

Light on laughs, and even lighter on drama, Kyle Mooney’s throwback high-school romcom/tech-horror shifts uneasily between its various modes and tones, but never finds its groove.

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

Less Tales Of The Unexpected, more Tales Of The Unconvincing, this uneven comedy horror fails to handle its ambitious structure, or deliver on its promising premise.

Lacks the ‘ick’ factor of the earlier Bay-directed efforts, and Fishback and Ramos do a great job as the token humans, but this is still just silly and derivative.

Every motion, from the clamour of the racetrack to the sparring of teacher and pupil, has been worked out for audience satisfaction and grants none. This is not a real film, it is an automaton, a pod-movie, and, thankfully, proved the death nail for such high-concept filmmaking.

Objectively ridiculous but mostly fun, this is better than you could have predicted given the title but squarely aimed at a young and undiscerning audience.

As a throwaway 80's B-movie you could do much worse. Hauer, as is his way, plays the rough and silent type, this time a cop with Scot Duncan as his partner. There is enough gore, monsters and violence to satisfy but a good plot is sadly lacking and worst of all, they even managed to make Kim Catrall look unattractive.

Strong performances and a few laughs, but the story feels lazy next to superior efforts recently in the same genre.

The source material remains affecting and the cast work hard to add dimension to a lacklustre screenplay. But sadly, it adds up to less than the sum of its parts.

While there are fun moments, the whole is an odd mix of grotesquerie and cutesiness.

The astonishing true life story of The 33 deserves a better movie than this. Trite above and below ground, it is not suitable for miners. Or anyone else really.

It could have been a tantalising coming-together of two icons of action cinema. Instead, The Iron Mask feels oddly anemic.

Despite its wild premise — Chris Pratt goes to the future to fight aliens! — and considerable talent, The Tomorrow War is mostly just bloated blockbuster business as usual.

Corny and shakily plotted, it's a disappointing directorial debut from Goldsman.

This is just as unevenly plotted as the original, lacks even the element of surprise, and is not by any reasonable standard “good”. Between gooey and ghoulish, there must be better options.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Sadly the plot leaves a lot to be desired with major flaws never far away. The in-jokes are amusing but their novelty soon begins to wear thin.

It’s uneven and doesn’t quite hit the right balance between yuks and yuck, but the charisma of the two stars – particularly Nanjiani – carries it along. A shame to waste Uwais on such a limited role, though.