Wonder Park has some fun bits (a narcoleptic bear) and a worthy sentiment around the value of going through tough times but it’s too hectic and untethered to land its loftier ideas. It aspires to be Inside Out but falls way short.

Murphy occasionally does uninterrupted seconds of shtick, but the film is stuffed with cheap sentiment (a kid with cancer), extraneous characters and embarrassing simplistic politics.

Brutal in its depictions of violence, Brimstone is tough to watch at times, but never less than gripping, even as the clock creeps up to the 150-minute mark.

A watchable tale of parental dread, propelled by a strong conceit and sustained tension — but let down by its outlandish twist.

Not up there with the Farrelly brothers' classics, but still a worthwhile, farcical comedy.

An all-too conventional look at an unconventional man, Big George Foreman is, alas, a swing and a miss.

Positioned as a tense political thriller, Jewison's film is high on the (somewhat confusing) politics but falls a little short on the thrills.

Crowe is still a master navigator of swampy territory, and any movie that can warm the heart and tickle the funny bone without selling its soul is to be cherished, warts and all.

Uneven, immature and a little derivative — but entertaining performances from Olivia Cooke and Alec Baldwin keeps Pixie watchable.

This lacks the darkness and subtlety that makes the first film so good, and so adult, but its simplified plot and gags will appeal to the under tens.

Clint Eastwood’s bold choice to have real protagonists does little to enliven a listless story about friendship. Although the terrorist attack is effectively staged, The 15:17 To Paris fails to spin a remarkable film out of a remarkable act of heroism.

Charming performances from both leads and insightful vignettes makes up for occasional clumsy writing and plot developments.

The premise promised Regency class and Romero shocks. The results, though, are only intermittently entertaining, and a better adaptation of Austen than a monster mash.

Stone's film could have allowed political voices that are rarely present to get a fair, and critical hearing. Instead he near smooches them to death.

Never managing to look more hi-tech or further on from 1987 than, well, Hi-tech trainers, this Arnie vehicle still runs it's bloody course without dropping many gears. A brainless, breathless thrill.

For a debut feature, this dustbowl survival flick shows undeniable promise. But committed performances and striking cinematography can’t stop a shaky narrative crumbling at the last. 

Lively’s steely heroine and a propulsive plot ensure you’re never bored, but this is a generic thriller from a simpler time, bulked up by a single strong performance.

An all-star lineup with some kookie moments, but a bit limp overall.

A winning double act never quite gels in a fish-out-of-water road-trip caper — think ‘National Lampoon’s Gringo Vacation’ — that leans hard on its stars’ charms and very lightly on coherent plotting.

Like many of its ilk, this lacks both the wit and cheeky charm of the Pie franchise, subsisting instead on trite gags that dredge up every European stereotype from football thugs to French mimes.

Although replete with creepy shocks, this lacks the narrative finesse to match the committed performances and slick visuals.

This year's Dodgeball? Not a chance. Ferrell admirably tackles the so-so material, but it soon defeats him.

It’s always fun, inventive and full of charm. If you have any concerns that Jason Reitman’s film might sully the legacy of his dad’s greatest creation, there’s nothing to be afraid of.

Despite strong lead performances and some intriguing themes, this rarely rises above being a serviceable action thriller.

It’s well-intentioned and pretty, but not much else. Occasional stylistic flourish aside, it offers nothing we haven’t seen before, buckling under the weight of its own conservatism.

The performances are alright enough but the casting was a bizarre choice and it's just not strong enough to carry the premise.

The kind of film the tabloids will call to ban. Don't take that as a reason to see it.

A humdrum remake of a crackerjack thriller, this never gets out of second gear despite a classy cast and intriguing premise. Credit to Dean Norris for playing a character called Bumpy with an entirely straight face.