Super sexy, silly Meyer fun where he takes his own self-styled genre to its heights/depths.

A well-intentioned biopic about a little-discussed but pivotal moment for both artists. If it’s never transcendent, it at least offers charming child performances, and Hawes is a particularly good fit as Neal.

In typical Rob Cohen fashion, it does exactly what it says on the tin. But that's all it needs to be the visceral rollercoaster ride we all expect.

While its reach may exceed its grasp, any shortcomings of Pathaan are papered over by the sheer charisma of its lead actor, who once again demonstrates why he is one of the most popular movie stars in the world.

It tootles along being cute and fluffy like a twentysomethings' version of Sabrina The Teenage Witch, but to further its notions of sisterhood and the power of women, it also takes a spin through Thelma And Louise territory, then revisits The Exorcist to up the supernatural content. It's enough to make your head spin.

Disappoints due to poor structure, flimsy characterisation and insufficient wit.

By no means perfect - a twist in the tale overextends its already lengthy running time - but it is terrific fun.

A quirky road-trip movie with things to say. A return to form for Depardieu too.

This is simply more fairly generic and forgettable family fodder.

Smart, intriguing, funny and sad, with some primo wisecracking dialogue.

The film’s bleak, Coen-esque sense of isolation, cold brutality and clutch of confident performances...make for a decent and engaging story that culminates in an enjoyably nasty conclusion.

This strict adherence to formula is wearing for anyone over ten, but worse is Lohan.

The result is a middle-of-the-table Conjuring universe film — one unlikely to make a dent in horror history, but well-constructed, with moments of inventive imagery, and that continues to cement Akela Cooper as a writer with a clear eye for freaky fun.

This doesn’t reinvent the wheel, and keeps you waiting too long for the final showdown — but when the creatures collide, it still delivers satisfying thrills.

Jaa’s period ‘beatquel’ is thick on action but thin on plot. Awesome final fight, though.

Tedious Western, that's a disappointment given the talent involved.

Occasionally clunky and retrograde but in the same manner as a story told by a grandparent, The Alto Knights reminds us that De Niro will always be cinema’s greatest gangster.

For all its faults, the good-natured, quirky humour that this for the most part offers ultimately makes it very hard to dislike.

Take That have more than enough hits to give this a solid soundtrack, but the story they’re loosely tied to is weakly constructed and far gloomier than the cheery music deserves.

Effectively scary and occasionally inventive, Blair Witch is a solid genre film both helped and hindered by its franchise’s place in cinematic history.

An animation that never drags itself out of mediocrity despite the best efforts of gifted animator Tartakovsky.

Like every one of its songs, it makes a lot of noise about nothing much and cockily straddles awfulness and greatness. It's enormously entertaining nonsense.

Occasionally dynamic action and an incredible cast can’t ultimately save this muddled, derivative film. And please don’t call it ‘Jane Wick’.

An okay paranormal mystery, with solid work from the regulars – but please Mr Carter, next time, could we have liver-eating mutants or post-modern comedy like the really good episodes of The X Files?

In spite of two great performances, this is a muddled affair.

Generic, uninspired and devoid of suspense.

The thrill of the original is seeing a black-and-white, one-foot-on-the-floor, no-sex-please Hays Code world suddenly explode into a slasher movie. Our loss of innocence has, simply, changed all the rules.

The midway point between "A.I." and "Diary Of A Wimpy Kid." It has quirky charm and a tender heart, but the treacly sentiment may become wearisome.