In a crowded marketplace, new superhero movies need a lot to stand out; despite some solid work from Sylvester Stallone, it’s not really clear what Samaritan is bringing to the table.

The highschool hijinks may entertain the young, but those more familiar with the Bard will recognise this as a wasted opportunity.

Yet in trying to be honest and non-conformist, Mad City does the most dishonest thing imaginable: it conforms to Hollywood routine.

The early franchise frights are missing. There's some ironic light-heartedness in the nuptial set, the religious overtones are distractingly self-conscious.

One of Tom Hanks' overlooked performances because this bizarre thriller-comedy ends so strangely but there's much to like here.

One of the dreariest outer space swashbucklers of all time.

Michael Bay goes back to a Bad Boys budget and a big boys’ rating, for a true-life crime story that’s inconsistent and frenetic, but also funny and wilfully outrageous.

What sounded like a bad idea before it started shooting, proves such an atrocity that it makes her last effort, The Beverly Hillbillies, look almost Oscar-worthy.

Lurie's remake doesn't bring a lot of fresh ideas to the table. The thick fug of moral ambiguity, so disconcerting in Peckinpah's film, is missing, replaced by certainties rife in modern horror. The result is a bit of yawn enlivened only by James Woods' delirious bad guy.

Despite magic moments, this is so lop-sided in conception it's really only worth seeking out as a folly.

It’s ragged round the edges, but then Fritz Kiersch is working with a budget Roger Corman would laugh at, and he does a good job.

Star Wars it wasn't and still isn't...camp 70's space stuff but the TV series spin-off is a fond memory for 30-somethings throughout the Western World.

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.

Where Gambon made the perfect misanthrope, Downey doesn't quite fit the role. Astonishingly, despite his drug-related crimes and misdemeanours, he actually seems too innocent to be so crabby and vile.

There are some roles Julia Roberts was born to play -- a tart with a heart, say, or a likeable and famous actor -- but a charismatic, inspiring 1950s teacher is not one of them.

Club Dread still thrives on the group's enormous charm and the determined, genuinely funny comedic approach of knowing pop-culture winks and a zaniness that marks them as pleasingly Pythonesque.

An uneven thriller that would have been better served aiming for a lighter tone.

Madonna knocks herself out and deserves cheers for the emotional range and humanity with which she sings in Alan Parker's spectacular film. But whether you think the movie is great or grisly, rests in large part on your palate for Andrew Lloyd Webber's music.

23 Walks is romance of the gentlest kind. Steadman and Johns are likeable but the writing doesn’t deliver characters that compel and convince. But for dog lovers, it’s pooch porn.

A brave bid to recreate a modern American tragedy, with a revelatory turn by its lead actress.

Robustly acted by a superb cast and with some beautiful moments, this follow-up to The Father nevertheless feels less mature and less sure of itself.

Wrongly branded misogynist by PC kneejerkers, this is a scathing assault on the exploitative nature of pornography and the emptiness of sex without love.

A teenie "To Die For" whose flaws are superceded by a complex, compelling turn from Evan Rachel Wood.

Beautifully crafted and exquisitely observed with an outstanding performance from Eddie Marsan in the lead.

The idea is so great that it's a crying shame that the end product is such a sheep in wolf's clothing.

A film based on a game inspired by films that are much better than this one, Uncharted is watchable enough but could have been so much better.

No fun at all.

The Academy might not be troubled, but at times Into The Blue's wet Hollywood bodies really hit the spot.