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.

Occasionally dynamic action and an incredible cast can’t ultimately save this muddled, derivative film. And please don’t call it ‘Jane Wick’.

A strong cast can’t rescue the repetitively crude and recklessly derivative material. Mike and Dave need a lot more help than in merely finding wedding dates.

An erotic thriller that's strangely unerotic and devoid of thrills, this is, however, mercifully short at 100 minutes.

Director Alan Taylor handles the big action adeptly as he did in Thor The Dark World, but the script is an ever-decreasing cycle of tool-ups, chase sequences and daft monologues.

Zemeckis’ old-school romance has its moments and Cotillard gives it her all, but it lacks the zip and chemistry to truly spark.

Violent, silly, embarrassing, clumsy, confusing, juvenile, occasionally offensive, occasionally a little bit fun.

Hope may float, but this bore flounders beyond salvaging.

It starts off well enough but slowly sinks under the leaden weight of its worthiness.

Somewhat dated now but still occasionally gripping.

Suburbicon is a strange beast: a by-the-numbers ’40s film noir bolted to an unsatisfying ’60s racial drama wrapped up in a ’50s Americana satire. A strong cast and talented director never make the whole add up.

An on-form Jim Carrey can’t stop Sonic’s live-action debut from feeling like a missed opportunity. If the teased sequels do materialise, here’s hoping the storytelling levels up.

Tom & Jerry: The Movie joins Garfield , Yogi Bear and The Smurfs as misfiring attempts to combine popular ’toons with live action. Our kids deserve better. They deserve Tom & Jerry 1940-’58.

While this combination of Michael J. Fox, light comedy and uncomplicated values must’ve looked fine on paper, on screen it doesn'’t quite make the grade.

A mirthless shot in the dark that misses the target by some distance.

An action comedy without any action or comedy – not even The Rock’s charisma and enthusiasm can save this dud.

These bosses cannot justify either murder or lasting comic memories, fatally compromising a farce that could have been great but ends up merely mediocre.

Despite an intriguing premise, an impossible-to-buy plot contrivance and a deeply unsatisfying ending put paid to this sci-fi psycho-thriller.

A handsome period drama with the occasional impressive flourish, but despite its rich subject matter, it's Affleck’s weakest film yet as a director.

Everything from the style to the casting feels grubby and worn.

Cute and friendly enough, but for anyone over eight, not recommended.

An unsuspenseful thriller with shades of "Death Wish." Nicolas Cage's return to New Orleans doesn't even have a hallucinatory iguana to recommend it.

It does become marginally less cringe-making in the latter half, but aside from a hilarious set piece involving a cat/tranquilliser dart interface and a vaguely entertaining Russian Mafia subplot, this is tired stuff which should have stayed at home.

Disappointingly dull account of a tale desperately in need of a sharper screenplay and some directorial vim. Might as well wait for the Blu-ray, Jules.

Most of the people who see this will own funnier home videos of wedding disasters.

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

The characters might physically appear rounded, but are otherwise paper-thin.

This is a leaden mess that offers only brief moments of respite.