Strays from the boundaries of believability a little too much to be regarding anything other than a throw-away comedy.

Largely devoid of any charm or intelligence that made other Apes films entertaining, this one should be buried in the Forbidden Zone.

Precious Cargo is a film out of time. In the ’90s it would have been a serviceable DTV alternative when the Van Damme/Jeff Wincott flick was out at Blockbuster. These days it is a lacklustre anachronism. Bruce Willis should really know better.

Separately the characters are annoying; together it’s unnervingly like watching one actress playing twins.

Superlative performances from Roberts and Hammer almost cover the shortcomings. Like most Tarsem films it's a muddle, but this time not one with enough distracting dazzle.

An embarrassing mish-mash of comedy and horror which fits neither criteria.

There's a good film in here somewhere, but it's buried under a messy structure and unclear direction.

It's poetic, hypnotic and well-performed, but fails to either draw out its characters with conviction or fully draw its audience in.

More Pistachio Disguisey than Austin Powers, this cheapjack comedy is nowhere near as ingenious as the man it sends up.

A decent, affectionate, fitfully funny take on the fantasy genre, but this could have been so much more.

An awkward mix of realist social drama and Statham actioner, this doesn’t quite convince as either.

What begins as mildly intriguing stuff with some genuinely unsettling moments, quickly melts into a plot so confusing that it almost begins to look as though the editor was taking some mind-altering substance.

Gong Li is welcome as Hannibal's Japanese aunt-in-law/mentor, Gaspard Ulliel isn't a bad young Lecter and Webber's direction is intermittently classy -- but this is a footnote rather than a film.

Solely made for tiny tots, this may test the patience of supervising adults, but delight smaller viewers who will doubtless fall in love with George and want him for their very own.

A tasteless concoction - one gay character is particularly misjudged - that's instantly forgettable.

An inoffensive if unengaging family romp that somehow manages to make the ultimate day of fun feel like a drag.

It has all the required Police Academy staples and is one of the better sequels but this whole franchise is so dated that isn't saying much.

Madame Web isn’t much worse than the rest of the SPUMC, give or take, but it’s not really better, either. Its minimal saving grace is that it doesn’t require much familiarity with the wider universe.

Even with a strong cast to gild its endless chambers and salons, there's barely a spark of soul to fuel its story. Pattinson is no Malkovich either.

Those who found, say, Internal Affairs, a "stylish" affair will be able to say the same of this, only it's more so. The more squeamish will prefer to take Manhattan Woody Allen style.

The romantic plotting is so cliched that the denouement may as well have been e-mailed, and the director has fooled himself into believing that a rousing soundtrack is adequate shorthand for the mood of the flower power generation.

Beautifully animated, and about as faithful and affectionate as a corporate cash-in is possible to get — but it still doesn’t come close to the experience of actually playing the games.

Venom is neither triumph nor train-wreck. It’s a mediocre origin story, a superhero host that sadly fails to bond with its comedy parasite. Which is a shame, as there is enough here to to suggest it could have been a blast.

A few good stunts, some tolerable brooding and one nice, if silly desert chase. But not essential.

Wasting big-name actors, The Mauritanian is simultaneously over-stuffed and under-powered, turning a horrifying real-life ordeal into something flat and formulaic. Only Tahar Rahim’s consummate portrayal of grace under duress stands out.

Overlong and underpopulated with gags that really land, there's still moments of mirth for devotees of the original.

Adapting a relatively uneventful short story was always going to be tricky, and despite some strong performances and wry observations, Cat Person’s disastrous ending takes everything else down with it.

Tonally a complete departure from the rest of the series, which is at once laudably brave and disappointingly unfunny.