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

Dean Devlin finally steps out from Roland Emmerich’s shadow with a tight, twisty little thriller. Add a fourth star to the rating if David Tennant going full Nicolas Cage sounds like your kind of thing.

A fun night in with the tellybox, but then it never claimed to be anything more.

It’s not just that Wild Mountain Thyme is bogged down by overripe Irish trappings. It also fails to work on the most basic romcom level — wanting to see a couple get together. Sadly, not even a strong cast can rescue a pot of gold from the end of this rainbow.

This is about as noir as Pete’s Dragon, best to accept its superficiality as a boon - Hackford, at least, gives it a slick exterior - and enjoy it is a vacuous thriller and extended Phil Collins video.

Fifty years after he first appeared, Donald E. Westlake’s antihero may have found his perfect avatar. Like Parker’s robberies, it isn’t entirely successful, but Statham and Lopez make enticingly mismatched partners in crime.

Nicole Kidman has perfected the art of the wronged housewife, but that’s not enough to elevate the shallow nightmare of Holland. This derivative thriller is in need of some Dutch courage.

If it all ends in cornball reconciliation, the dumb, fuzzy smile it leaves suggests it’s well earned.

It’s funny, wonderfully performed by all, visually inventive.

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

Fondly conceived but short of that razor-sharp Jane Austen wit.

We've seen all these stunts pulled before, and seen them done better, but there's some pleasure to be had here — even if it's of the extremely guilty kind.

There are plenty of fun CGI monster-skewering scenes, but a clunky plot, rigid script and equally stiff acting make this a crumbling disappointment, if not quite a disaster.

In between his successful Back II the Futures and his stint on Spin City, Fox's career was in freefall with this film proving the point. Although he is as charismatic as ever, it's not enough for the viewer to actually sympathise with Fox's character, or even lift this poor comedy enough to get a laugh.

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.

It features more weed than a pot-warming party at Bill & Ben's but offers little more than spliff-glazed promotion for Snoop's reggae reincarnation.

The script is weak and obvious and the direction disappointingly unimaginative. But stars are stars, and the old boys are terrific - enough to make this a funny and sometimes moving buddy picture.

Another to airbrush out of the De Niro back catalogue.

A startling performace from Findlay doesn't quite make up for a disappointing third act.

It creates a seasonal glow, but inconsistencies keep Fred Claus off the ‘Nice’ list this Christmas.

All is very much what it seems from another one of these all-is-not-what-it-seems thrillers — but there are fun, enjoyably unhinged performances from Edebiri and Malkovich.

It’s absolute nonsense, of course, but does quite nicely as knockabout Friday night fun. We can smell a sequel if Travolta can be bothered.

An improvement on Transformers 2, but then what isn't? To paraphrase the Bard, it's a tale, full of sound and fury and extremely stupid dialogue and nonsensical plotting and preposterous stunts and robots punching each other's heads off, signifying nothing.

Directed by Tony Bill and written by Mitch Markowitz, there are far worse comedies than Crazy People out there on the market and Dudley Moore's adverts are, at times, pretty darn hilarious.

It does become marginally less cringe-making in the latter half, but aside from a hilarious set piece involving a cat/tranquilliser dart interface and a vaguely entertaining Russian Mafia subplot, this is tired stuff which should have stayed at home.

Union is committed and convincing, but the script apparently never met a cliche it didn't want to adopt wholesale. This offers some thrills and considerable pace, but never enough narrative force.

However you dress it up, laughs where there should be frights is patently piss poor.

All-in-all a fairly unpleasant experience for most audiences.