The film's real strength is the way it sounds, with Ry Cooder's jangling score competing with thunderous gunplay for the shell-like's appreciative attention.

A gripping, affecting, strange movie -- but oddly, it's just like too many other gripping, affecting, strange movies we've seen recently.

As ultraviolent as the first film, and as ultrasmutty, The Golden Circle will leave the Kingsfans grinning, even if its characters have less growing to do this time around.

A shambling, ponderous mess that aims to be a trashy cult classic and merely ends up in the trash - Fichtner aside. And, in the biggest disappointment of all, there's not even that much angry driving in it.

Seize Them! turns the Dark Ages into the daft ages, delivering a mostly entertaining, female-centred comedy enlivened by winning performances.

Deeply forgettable and disposable, this is the kind of action-comedy you will feel like you have seen before. But Halle Berry and Mark Wahlberg are good fun, at least.

If you buy in to the central romance, you’ll laugh, you’ll cry, you’ll swoon. Otherwise, the lingering glances, lip-chewing and regular de-shirting may cause uncontrollable giggles.

Not so much a ripping yarn, more of a dripping yarn, Yates’ reinterpretation of the Lord Of The Jungle is a big disappointment.

Decidely average teen drama but with a few decent dance numbers.

Valiant though this low-budget attempt to reclaim Hellboy may be, it sadly lacks the storytelling and stylistic savvy to rise above its all-too-obvious budgetary limitations.

These Mark 6 Jaegers with their electric whips, “gravity slings” and plasma swords deliver all the giant robot thrills you could wish. Thanks to Boyega and Spaeny, you might even care about the human characters, too.

On the more inoffensive end of Netflix’s original output, Heart Of Stone is a perfectly watchable and often daft bit of fun, but its mission to supersede Ethan Hunt might prove to be impossible.

Standard-issue late-stage Netflix-era Sandler stuff: not exactly good, but goofy and charming in its own boneheaded, stick-it-on-if-there’s-nothing-else-on kind of way.

It may occasionally shock a laugh from you, but between those moments your face will be a rictus of horror.

Inferior teen drugs-drama, lacking depth and a point.

Crossbreeding superhero tropes with horror staples was an idea laden with promise. Brightburn is enlivened by trademark James Gunn black comedy, but hamstrung by sketchy writing and a botched sense of dread.

Landis occasionally plays wonderful licks on the cliches, as in an original take on the familiar vampire-burning-up-at-dawn shtick, but like his earlier movies (An American Werewolf In London, The Blues Brothers) this keeps self-destructing on a story level. Of all entries in the recent vampire cycle, this is at once the most hung-up on horror history and the most revisionary in its rewriting of the mythology.

A fascinating but flawed portrait of a fascinating but flawed man. However, with Cox so good, it’s a surprise Churchill isn’t being held back until awards season.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

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.

Right from the intriguing opening sequence, which hints at the bleakness which envelops the movie, Willis’ Talley is an interesting character.

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.

Despite a strong cast, promising premise and a timely attempt to explore male neurosis, Swimming With Men is let down by slight characterisation, by-the-numbers plotting and heavy-handed jokes that desperately need arm bands.

Vaughn gets a lot of points for imagination, but then quite a lot taken away for not knowing when to stop. A blast at times, The King’s Man could have sacrificed a fair chunk of plot for a bit more comedy.

Like any holiday, it is episodic and suffers from repetition but this is gag-for-gag the funniest film of the summer and a fitting end to a much-loved series. So long boys, it's been great to know you.

This is a feel good movie which is too mechanically put together to make you feel anything.

An emotional, if familiar, take on loyalty and technology in a world where love and survival feel near-impossible. Reid’s writing shines and there’s nobody better than Mescal and Ronan to broadcast heartbreak.

Despite John Cena’s best efforts, Ricky Stanicky is a comedy that delivers nothing but tedium, wasting a clever idea by repeating the same jokes over and over.