Splendid landscapes and interesting faces - the usual virtues of the Western - keep the film burbling along, even as the actual plot is falling apart.

A slight improvement on Expendables 3, Expend4bles still works better as character posters than a movie you have to actually sit through. To paraphrase the tag line, old blood meets new blood equals tired blood.

An improvement on Transformers 2, but then what isn't? To paraphrase the Bard, it's a tale, full of sound and fury and extremely stupid dialogue and nonsensical plotting and preposterous stunts and robots punching each other's heads off, signifying nothing.

As a last hurrah for a once great action icon, Rambo: Last Blood is a damp squib. Put your headbands at half mast and remember him from his glory days.

There was so much potential, yet when it came down to it, Coppola made his Dracula too old to be menacing, gave Keanu Reeves a part and took out all the action. So all we're left with is an overly long bloated adaptation, instead of what might have been a gothic masterpiece.

A curveball from the man who made "2012" and "Independence Day" and probably only a brief respite for the world's major cities.It's more of an interesting curio to a blockbuster career but there's fun to be had here if you look hard enough.

Wrong Turn has some decent booby-trap business but can’t find enough that is different to enliven the weary concept. But for the horror hardcore, keep watching once the credits roll.

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...

Assayas' attempt to present a multi-perspective Polaroid view of Adrien and his circle fall back on the tired technique of abruptly punctuating grainy, handheld sequence with jump cuts. A disappointingly sterotypical French film.

As double-cross becomes triple-cross becomes quadruple cross, it all gets awfully trying.

A committed performance by Thorne along with some moments of directorial flair can’t offset the frustratingly dumb characters and shallow analysis.

A surprisingly rose-tinted look at a subculture that really should have been stamped out some time ago.

Never has the term 'American Independent' so obviously been code for 'wholly miserable experience'.

Good intentions, vivid setting and TLJ on top form do not make up for a lack of anything truly compelling.

Trying so hard to recreate the stylish spy comedies of the 60's, Turner and Quaid pose unconvincingly as the couple in New Orleans when their maternity leave is cut short. Sadly they the required chemistry and their banter falls decidedly flat. The only redeeming feature is the support of Stanley Tucci.

It's a fine line between high art and overblown nonsense. Bizarre accents and annoying camerawork abound in this package of tripe which isn't sure whether it has just left the butchers or is on its way back.

Director Sullivan lingers too long in every photogenic location and drags out every incident as if he's making six episodes of a not very sparkling serial.

Deeply icky on many different levels, with Ross Noble's feature debut illuminated by stomach-churning effects.

Stylish enough, but the plodding story inhibits the smooth sophistication of the film's stars.

A muddle.

Despite the talent on show, there's little to distinguish this from any other bland family comedy.

Fortunately, the fabulous songs, performed by scads of contemporary artists, provide some relief in an overlong, overdone portrait.

This modern musical - with tunes written by Where Are They Now pop band ELO - falls flat on its face simply because the premise is so utterly ludicrous.

The type of movie often described as a fever-dream: weird, offbeat, otherworldly… An experience that also coincides with feeling ill.

The endearing moments in Kevin Smith’s coming-of-age cinema-fest are weighed down by underwritten comedy. Could have done with being more sweet, less salty.

Sugary enough to induce immediate diabetes, this is not one for cynics.

Quality premise, poor execution.

Handsome, well-mounted but dull, dull, dull.