Despite an above average cast and interesting use of the Catholic angle, this film just isn't quite scary enough for hardcore horror fans.

This overambitious, flawed feature debut is simply trying to do too much. It lurches erratically between genres and themes, resulting in a muddled story whose reach exceeds its grasp.

Despite the presence of four credited screenwriters, the plot is a rehash of cliches and tired jokes.

Reasonably entertaining but hectic (supposed) finale for the up-and-down series.

Featuring strong work from LaBeouf, Man Down is a fascinating example of how a powerful performance and good intentions can be derailed by a misguided concept and flawed execution.

Touches on some interesting philosophical ideas, but it's poorly-produced and unclear in tone.

A Street Cat Named Bob has its heart in the right place but doesn’t quite land on a tone to unite hard hitting drama and a cat-based comedy.

Guilty, with one or two mitigating circumstances.

If this tiresome yarn is the ‘true’ story of one of Disney’s most popular villains then, please, give us colourful lies and happy ignorance.

A little muddled and derivative but what do we expect, really?

Amsterdam suffers from a surfeit of story detail without the vigour to whizz you through it. It has likable leads and the craft is on point, but the result, given all the talent involved, is a tonally uneasy disappointment — a romp that fails to romp.

An occasionally interesting but over-stretched attempt to recount Putin’s rise to power, best appreciated for the few moments in which Jude Law appears.

Terrence Malick’s Hollywood tale is a frustratingly fleeting experience, a sleepwalk through Tinseltown that beguiles you with its visual artistry but leaves only the faintest of impressions when the curtain falls.

Director Yang Joon-hyun works scrupulously from the Hollywood serial murder playbook, and delivers something which does its job, even as its last reel flounders with several too many plot twists, but has no particular reason to exist.

A fascinating life is reduced to a series of skittishly edited and visually stylised vignettes that do scant justice to Marie Curie's scientific achievements and Karolina Gruszka's laudably intense performance.

The third Cloverfield film is just about a Cloverfield film, but definitely a disappointment, trading on its name but not living up to its already muddled heritage. Only intermittently fun.

Almost certainly the second worst thing to happen to Bruce Lee, this toothless and tame movie doesn’t even come close to capturing the great man’s dangerous charisma.

Visceral and inquisitive, this well researched movie offers a punchy insight to prison life. Unfortunately, it is a familiar and tepid storyline.

An ambitious and sloppy, yet occasionally likeable, cross-European fable.

With not enough balls to be fun, and not enough brain to be cerebral, there’s not much going on behind those pained Western expressions to entertain.

It’s annoying and one-note and so relentless in its cheeriness that it eventually comes to seem almost likeable. At least there are great voice performances underneath all the felt and pop mash-ups.

A microwave meal of a kid’s film, consisting of tired tropes and bland platitudes. This particular village should have stayed lost.

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 toxic reaction in Cannes should offer fair warning: Weinstein's glossbuster is a bust.

This is a very patchy affair - while some of the animated pieces work, others come across as downright insane.

Although the film has a ridiculous premise that's no reason for it not to work, sadly the direction it is taken in, it's poor acting, character development and shoddy action sequences are though. Allen stands out as a spunky heroine but she's the best thing in it.

Not a write-off, but more like a respectful homage than a 2020s update in the manner of Candyman (2021). Perhaps a little disrespect would have been truer to the Clive Barker/Pinhead spirit, which is curiously muted in this outing.

Possibly a brave and interesting triumph for its director, but definitely a cold-eyed heartless bore for his audience.