Snake Eyes finally speaks, but with frustrating action scenes, a middling story and unearned sequel-baiting, there’s not much here that’s worth listening to, or watching.

A often grim vaudeville parade of Nashville's oddballs and ne'er-do-wells.

Peet works hard with the slight material and there are some cutely kooky moments.

If you’ve never seen Luther, don’t start here. You will be completely lost. Even dedicated fans are likely to be confused by this messy revamp of a story that once felt dangerous but is now merely daft.

Great performances from the young cast just can't make up for the overly familiar plot and pre-teen excesses of the action.

Another shake-and-bake Stath special, boasting the requisite punchy-fighty action and some pleasing sleaziness from Franco and Bosworth, but it's ponderously handled by director Fleder.

It's just not quite as much fun as it should be, despite Pearce's best efforts and some good chemistry with Grace. Unusually for an action thriller, this could have benefited from being just a little longer.

As that Ronseal title suggests, Plane is rarely on the good side of trash. But at least Gerard Butler and Mike Colter offer some solid action-star appeal.

Who Framed Roger Rabbit meets Meets The Feebles, in a disappointing adult comedy that never lives up to the promise of its premise.

Lacks the classic Disney charm that works for adults as well as kids.

A worthy diversion for the very young, but against their more venerable stablemates - notably DuckTales - The Rescuers's identification/memorableness factor remains second division.

Made more than two years ago, this is nowhere near as well thought out as its predecessor ["Boyz N The Hood,"] and is far more strained in making its point.

Despite the odd rip-roaring tune and some sturdy performances, this yuletide tale is as memorable as last year's sprouts.

Astronaut doesn’t have the budget or cinematic ambition to deliver on its premise. Despite the best efforts of Richard Dreyfuss, it reaches for the stars and misses by a mile.

Kids will enjoy the colourful animation and fun characters, but adults will wish it all made a bit more sense.

It livens up a bit in the last reel when Fogg’s inventive brain pulls out all the stops to try to win the bet, but by that point you'll be too jaded to care.

Decent ingredients but, as a whole, this is lacking in choreographic flair and plot substance.

Be warned - Damon isn't in this one.

The target audience - pre-teen girls - aren’t going to notice the many shortfalls behind the camera. What they’ll enjoy, regardless of quality, is some naughtiness true to the spirit of the series, Russell Brand and Girls Aloud. For the rest of us it’s tougher going with mostly Everett and Firth to see us through.

Spader and Cusack go through the motions as political sparring partners in this coming of age drama.

Ultimately lost in it's own contrivances, Big Business still manages a few laughs thanks to it's big name leading lady.

Parts of Outcome work a treat (see: Martin Scorsese). Shame, then, that long stretches give in to blunt parody, leaving the feeling there’s a much better movie in here somewhere.

The vital story of a singular trailblazer is brought to life with surprising ambition and a committed Rosamund Pike, but such inventive methods confuse the crux of Marie Curie’s intelligence, with alienating storytelling rendering her humanity impenetrable.

Benicio Del Toro’s solid screen charisma can’t rescue Reptile, a derivative and lethargic thriller that rarely thrills as it tries and fails to build a case for itself as a meaningful iteration on the detective thrillers that it admires.

Little atmosphere and no surprises.

Beautifully presented but over-long and best appreciated if you already have an idea of van Gogh's life and work.

Peter Bogdanovich's attempt to update the screwball of the Golden Age lacks the requisite elegance, wit and charm.

Bit of a mediocre drama from writer-director Assayas despite some good turns, not least from Nick Nolte and Beatrice Dalle.