In a year of Bad Moms, Bad Santas and Bad Neighbours, this is, essentially, Bad Employees: another irresponsible-adults comedy, another great cast, and another erratic script. Catch it for McKinnon.

In Tobe Hooper’s sequel, the toolkit cannibals are living under a theme park. The mood follows suit, pitched as Evil Deady black comedy. The first third is terrible; the rest judders with abrasive, ultra-demented splatter.

The kids and Caine are good, but this lacks the magic of its source novel(s). Younger children may enjoy it, but its attempts to entertain older viewers mostly fall flat.

If Pop-Tarts are barely a breakfast, Unfrosted is barely a movie — but it’s sprinkled with solid gags, stuffed with super-silly guest appearances, and lovingly glazed in sweet ’60s trappings.

Like “The Lord Of The Rings,” The Lovely Bones does a fantastic job with revered, complex source material. As terrific on terra firma as it is audacious in its astral plane, it is doubtful we’ll see a more imaginative, courageous film in 2010.

Depardieu is his usual charismatic self but the script fails to translate well with the generic traits suddenly appearing so much obvious in English.

It’s sexy, offbeat fun for the most part, but it’s way too laid-back for its own good and, in the end, obstinately refuses to be anything more than the sum of its highly promising parts.

It’s uneven and doesn’t quite hit the right balance between yuks and yuck, but the charisma of the two stars – particularly Nanjiani – carries it along. A shame to waste Uwais on such a limited role, though.

Once you swallow the giant pill that is the premise, it just about makes sense, and Woodley sells it with all her conviction.

Workmanlike suspenser, with plenty of cold water but sparse chills. When it comes to James Cameron scuba thrillers, "The Abyss" still has the edge.

“Nostalgia’s overrated,” warns this vacuous slasher with a wink. Trouble is, other than obnoxious new characters meeting immemorable ends, that’s all it has to offer.

As the body count mounts, De Palma blurs the line between fantasy and reality with gleeful affrontery, creating a dazzling tapestry of visual cheats and narrative trickery which propels his scarcely credible characters and ludicrous plot - involving multiple personalities, babynapping and homicidal maniacs - through to its nervy conclusion.

A forced, over-ripe satire on the hunger for social media, bolstered by an engaging performance by Joe Keery. But if you really want to feel the real-life impact of the ’Gram on a young psyche, stick with Eighth Grade.

Lacks the ‘ick’ factor of the earlier Bay-directed efforts, and Fishback and Ramos do a great job as the token humans, but this is still just silly and derivative.

Like all sieges, this offers moments of choppy terror and excitement followed by dull sit-it-out-and-starve spots. Straddled between uproarious schoolboy tosh and serious historical movie, this still offers enough dismemberments, royal tantrums and portcullis-rammings to make for a lively Saturday night out.

Hardly likely to convince anyone that remakes are worthwhile, Overboard ekes out laughs but fails to add the romance to the comedy. We’d leave this one in the water.

Despite a charismatic turn from Momoa and some fun frenemy banter, this is a disappointing send-off that sees the DCEU go out with a squelch rather than a splash. Fin.

Though well directed, Thewlis and Di Caprio simply do not gel (John Malkovich and River Phoenix were the original cast choices), the latter is too hyperactive in delivery, the former too static in expression.

A largely dour romantic drama, hampered by thrusting non-actors into challenging lead roles.

Interesting material let down by the occasionally pedestrian direction.

A road trip movie filled with simple pleasures. Ashmore does a solid job as a mariachi musician without a single grenade-launcher in his guitar case

An unconventional sequel to an unconventional film, this works as a standalone picture with its own distinctive take on alien invasion but also expands what now seem like a franchise with potential to deliver more and varied snapshots of human behaviour in extreme circumstances.

It’s not the worst of the trilogy, but this is less for fans of thrillers and more for people who are pining after last year’s holiday to Florence.

Despite the formidable talents of Timothy Spall and Vanessa Redgrave, Mrs Lowry & Son doesn’t really get under the skin of the artist or the man, resulting in a film as dreary as Pendlebury’s colourless skies.

Günther executes stray powerful moments, but his lack of a handle on the material leads to two hours so meandering that the story drifts away in a haze of boredom.

Pacy and punchy, this is a promising first official outing for the new Captain America, even if some awkward and inconsistent moments hold it back from greatness.

Although patched together from loose ends, this works surprisingly well, with interesting and well-integrated visual effects, some nice humour and a few genuinely visionary touches.

There is a great deal of action in Renegades, yet it still manages to be a faintly boring film.