A very silly, sporadically serious hood spoof, with some surprisingly frank discussions of mental health — and a welcome redemptive arc for the multi-talented Adam Deacon.

As sweet and beguiling a musical romance as it’s possible to have between two murderous psychopaths. Its kooky approach won’t suit all stripes of comic-book fan, but it finds a strange, tragic hopefulness all of its own.

Witless, charmless, teen twaddle. Let's take all prints off the film, and bury them. Don't bother marking the spot with an X.

As a fairy-tale romantic rendering of Ireland, Irish Wish is almost offensively bad; as another rung on the ladder for Lindsay Lohan romcom supremacy, it is almost, somehow, beyond reproach.

Rambo could have been a satisfying romp - wherein bad dialogue and cardboard characters can be forgiven - but for the sin of making the main man step to the sidelines in favour of charisma-free fillers. Bad move, Sly...

Fans of Broken Lizard's previous work will enjoy this beer-fuddled effort; for anyone else it has its moments, but is best watched through beer-goggles.

The Break-Up doesn't turn the rom-com on its head, but with its focus on the darker side of love manages to gently tip it on its side.

A sci-fi horror dimmer than the dark side of the moon.

They make a fun duo, but none of the constituent genres work in this overbearing action-rom-com.

It doesn’t do anything different from the original, but the upside to The Upside is two strong, winning performances that keep you going down a well worn path.

Ror all its cleverness, Emily Rose does have its hokey moments.

Less than crowd-pleasing chick flick livened up by John Cusack’s self-penned one-liners.

Dodgy on every level.

A solid action-comedy that proves just how much we’ve missed Cameron Diaz in the last ten years. Next time don’t leave it so long, eh?

Far from perfect in its execution, but once IF hits its stride, Reynolds and Fleming keep this emotional adventure entertaining enough.

Although there are some great moments (one for Nicholson recalling the toast scene of "Five Easy Pieces"), Penn's intentions lose their way.

The second half falls into familiar action tropes, but Honest Thief has some twists and turns, sly humour and a refreshing feel for its characters that raises them beyond genre types.

Unforgivably terrible.

Subtlety had never been Brooks’ thing, but even blunt blows need to be well aimed, and while Spaceballs doesn’t exactly miss its targets, it certainly bounces off them embarrassingly.

It's not nearly exciting enough and at an hour and twenty minutes is overlong for animation fans, yet by virtue of the fact it's a cartoon, it presents itself as too childish for older live action devotees.

Fanning brings her A-game and there’s enough mystery about the monsters in the woods to string audiences along until the satisfyingly weird finish. As mid-list horror goes, perfectly fine.

As a light family sports feel-good this works but don't look for anything more.

If you’re not fond of Lopez’s soapier films (hello Maid In Manhattan) this might make for queasy watching, but stick with Second Act for its smart reframing of a city Cinderella story that retains its sense of humour.

It's charming enough with some nice comedy touches, but the initially intriguing premise is soon railroaded out of sight by its desire to conform to a tried-and-tested cinematic formula.

Distinctly predictable offering from the ever-overworking John Hughes, who has taken a step back from his previous work.

Those with the patience to sit through a slow first half will be rewarded with another gutsy ending.

After the disastrous "The House Of The Spirits," Bille August should know from experience to leave good novels well alone.

A clever idea that can't find its feet on the bigger stage.