Yes, Geostorm is bad, but it’s not a stinker for the ages.

Slick, sick stuff, but save the odd squirm, a killer-plant horror that doesn’t grow anywhere.

A strong opening, bursting with wit and vigour, gives way to a predictable, patronising and immensely lazy second half. Could have been so much more.

Lazy but functional tween fare.

For all the exploding gore, graphic eviscerations and combustible corpses, it’s not shocking, not sexy and not scary.

A few more laughs wouldn't have gone amiss, but then baseball's a serious business - especially when you've got your maths homework to finish before the team talk.

A very pompous version of the kind of nonsense Chuck Norris has been doing in far less embarrassing fashion for so many years.

A Journal For Jordan is probably better suited to the page than the screen. Despite winning chemistry from Michael 
B. Jordan and Chanté Adams, Denzel Washington’s film etches a romance that rarely delivers substance or surprises.

In the hands of bolder storytellers this could have been a witty take on "E. T."

Charmless and saddled with disastrous flashbacks, this doesn’t have the street smarts to play its strongest hand. There’s a great film in here struggling to get out, but the definitive London noir still remains unmade.

Given all the elements involved, Fountain Of Youth should be a blast. That it isn’t is a real disappointment. Maybe best left buried.

Too much distance has crept in for The Old Guard 2 to feel memorable, and it shows. A convoluted, sequel-baiting mess that proves time is not a healer.

Cards on the table: rock operas pretty much suck except for "Tommy."

Another deeply flawed, tech-forward endeavour for Zemeckis in which glimmers of human emotion only occasionally break through. Like Cloud Atlas for baby boomers experiencing late-middle-age malaise.

Despite some impressive woozy visuals and a soundtrack of chart-topping music, there’s not much to recommend this derivative pop-star drama.

Long-shelved, the final product never lives up to the promise of its contemporary-Grimm-brothers conceit.

Pitched halfway between a comedy and a morality tale, this space race often falls between the two, but is mildly diverting and boasts a strong young cast that will go on to make better things.

All pout and pose, with no spine to speak of; a beast with no back.

Less a Star Trek movie than a middling pilot episode setting up a series that will never come, Section 31 makes for a disheartening send-off for a once great character.

Indigestible Christmas stodge.

Okay for those who dote on ‘classics illustrated’ in the Merchant Ivory line, but not as fluid as all that.

Yet in spite of the affable Mr. Moog, the mood remains distant, too fetishistic to be passionate. Great noises, though.

An encouraging set-up soon descends into a grubby muddle, leaving you wishing you were just rewatching "The Name Of The Rose" instead.

Trying to break expectations isn't always a wise idea and here Disney show how not to do it. With this supposed-family movie, they disappoint on nearly every level. The plot is weak, the action poor and it's got Bette Midler, simply dreadful.

Eddie Murphy’s Dr. Dolittle generated four sequels. On this showing, Downey Jr’s will be a standalone, an uncynical but mostly lacklustre kids’ flick that doesn’t find its voice, animal or otherwise.

A well-meaning look at the issue of arranged marriage, garnished with some Hollywood star power, but it’s too meandering and sluggish to grip.

A turgid action sequel that loses sight of plot and characters in its humourless efforts to impress.

Certainly not Raimi at his best, but some knowing genre nods and an array of great effects make up much of the deficit.