The Darkest Minds boasts a decent cast and a fairly interesting premise centred on likeable characters. But its banality squashes any potential it had, resulting in a safe, forgettable sci-fi.

Rip Torn and Darren Burrows respectively over- and underplay their hands in this archly restrained Memphis melodrama.

An earnest stab at crunching a brilliant breezeblock of a novel down to film-size, but one that fails to pay off. Frankly, you might have more fun watching a pigeon for 149 minutes.

Too safe to shock and too familiar to really frighten, this is an overly conventional affair.

A throwback thriller which brings nothing new to a crowded genre, and has little to say along the way. They don’t make ’em like this anymore, and, to be honest, they probably shouldn’t.

If you just want to look with admiration and Johnny and/or Angelina – and why wouldn't you? – this offers the full scenic tour, but it's one of those frustrating almost-good films which never really catches fire.

A bloody, scuzzy, progressively preposterous whodunnit, blending old school and new wave to neutering effect. One chunky plus: the all-new Antihero Arnie.

Unfocused and uninspired, Night School has its moments but is held back by a script that required more study.

The movie is lavishly designed and assembled. However, the sometimes muddled, sometimes boring, and definitely overlong screenplay, lacking subtlety and definition, disappoints the expectations of enjoyment that are set up in the first 15 minutes.

Everything that comes after the confident, dangerous first half-hour just makes you pine for what could have been as this devolves into ten-a-penny teen-lit sludge.

Slick and solid in moments, Den Of Thieves disappoints with its reliance on easy plotting and gruff, overcooked acting. One for Butler completists only.

Not many teen romances use high-concept fantasy to probe the nature of self. But despite its fascinating conceit – and strong opening scenes – Every Day is undone by blandness.

For an exposé very little is actually revealed, but as a neon-lit trawl through '70s New York, it's worth a look.

On paper, Don’t Let Go’s premise — a supernaturally flecked crime story with a hint of time travel — should be exciting but it is let down down by workaday writing and routine filmmaking.

A well-meaning but corny football fable.

Despite an intriguing premise, Winchester misses the mark. Its anti-gun message is a shot in the right direction, but lazy fright tactics and a contradictory ending leave it firing blanks.

Take out the BDSM, and Fifty Shades Freed would play perfectly as afternoon thriller on Channel 5. An end to a damp squib of a trilogy which sees Johnson as the only one to emerge unscathed.

Megaton’s choppy editing barely disguises his star’s hatred of running, while a brutal 12A neutering lessens what limited fun remains in seeing Oscar Schindler creakily throw a Russian bad ‘un into some supermarket shelves.

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.

Engaging turns from Anderson and Isaacs can’t elevate a narrative that ultimately goes nowhere, although it might make you want to get the tent out of the attic at long last.

It comes across as a man's eye view of what a women's film should be like, and although it's not altogether clunky, you can't help but feel that in the hands of a more sympathetic director it could have been something really quite special.

Telling an unfamiliar tale in a highly predictable manner, this is a laudable, but lightweight tribute to golf's founding fathers.

Martin Campbell made Zorro and Bond work as contemporary heroes, but doesn't quite have the feel for poor old Hal Jordan. Green Lantern is dazzling in pieces, but we've seen too many sharper versions of the superhero origin story in the last few years. It's not Jonah Hex, but the battery runs low too quickly.

An initially cool premise that goes nowhere interesting as it heads off somewhere else too quickly. Hartnett does his best, but director Shyamalan seems more interested in trying to convince us of his daughter’s pop-star credentials.

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. 

Haddish and Byrne play to their comedic strengths but Like A Boss falls foul of formulaic writing and a mistrust of the genre’s full potential. Stick to its groundbreaking peers for a taste of something sweeter.

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.

More entertaining than "The Da Vinci Code," but still tosh.