Verdict Spies, terrorists, remote-controlled bombs… Unlocked’s components are all too familiar, and it doesn’t put nearly enough effort into making them feel fresh.

Resistance fails to commit to anything: too confused to honour its hero, too generic to shine a new light on a crucial moment in history. Somehow, such a remarkable story is here made forgettable.

This collection of tired jokes is enough to prompt the question, “What day did the Lord create Spinal Tap II: The End Continues, and couldn’t he have rested on that day too?”

A film with a fishing metaphor for a title should have come with sharper hooks.

Only distinguishable from the original movie by its obvious cheapness.

Particularly disappointing given the names involved, it's only mildly amusing at best, and more often downright tedious.

Former US sitcom staple Ritter breezes through his undemanding role with gormless bewilderment, reacting rather than acting, while Dawber screams and hollers as the special effects - the film's real stars - bounce them from one side of the screen to the other.

Humdrum adaptation that should, given the ripe nature of its source material, have been much better.

This glimpse into a decadent era has its charms, but they’re mostly visual. While Pfeiffer and Friend perform well, the script is tonally confused and lacks edge.

Innately sweet, due to the high number of fluffy animals, but it has the gloopy emotion and silly plotting of a Nicholas Sparks novel. Nicholas Barks, if you will.

With its infuriatingly dim-witted characters and generic slasher movie feel, The Strangers: Prey At Night is a surprisingly tame and forgettable rehash. While its superior predecessor managed to boast chills, this only boasts clichés.

For the most part, Edge Of Reason is as saggy and well-worn as Bridget's big knickers.

A dreadful disappointment.

A largely uninspiring re-tread of a superior film, this has some decent moments and enough gnarly deaths to keep horror hounds vaguely entertained until the inevitable arrival of ‘Bird Box Santorini’.

The film's chill seeps into your bones like a ceaseless cold drizzle. It also suffers from uncomfortably weird tonal shifts.

A photocopy of a photocopy, this could perhaps be the nadir of the wave of decade-too-late comedy sequels. Only Thornton completists, and hopeless nostalgists, need apply.

As in Cocoon, the emphasis is on sentiment, feel-good and reclaiming the elderly from the scrapheap. But the performances are nowhere near as subtle.

A curiously bloodless account of a real-life disaster that has moments of gripping tension punctuating long stretches of fatally understated business as usual.

Alvin does high school rom-com and very poorly at that.

Less a three-lane pile-up than a minor traffic violation in a residential area. Three points for Waugh, then, and a £60 fine.

Reygadas' big ideas translate with mixed results.

“Nostalgia’s overrated,” warns this vacuous slasher with a wink. Trouble is, other than obnoxious new characters meeting immemorable ends, that’s all it has to offer.

Endless wordplay and dumb slapstick do not a rewarding animation make. Pun-ishing.

It soon becomes apparent, though, that the best songs were used by the first two films, leaving the third with a set of slightly underwhelming tunes.

On the Ferrellometer, Talladega Nights sits just above "Kicking & Screaming," when it should be redlining it up there with "Anchorman."

Brawny but brainless techno-twaddle.

It offers the bones of a compelling story, but one-note characters, riskless storytelling and creaky pacing prevent this film from making an impact. This is a prescription best left unfilled.

Even with The Exorcist in the world, there is still scope for a contemporary, shocking and thrilling film to be made on the subject of possession. But this is not it: some found footage should really just stay lost.