Tom and Anna are so thinly sketched that by the time the painfully slow set-up starts to pay off, we no longer care who does what to whom, or why.

The grave tone makes it stiff and leaden, the digi-saturated look is a turn-off. Damnable and disordered.

Predictable and been-there, seen-that, but entertaining nevertheless at times.

If you like to stagger away from a film feeling numb and slightly sick, this one's for you.

A movie that's too patently "heart-warming" for its own good, and boasting one of the most revolting title-songs of all time.

The female-first vibe is refreshing but Something In The Water is something old, nothing new, a lot that is borrowed and an eyeful of twinkly blue.

Never scratching below the surface "facts" of the story, this is too thin and unsophisticated to truly compel.

One of von Trier’s most confrontingly horrible films is also one of his weakest. A story about a man disguising his lack of worthwhile contribution with violent self-interest is guilty of every point it’s making.

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.

Elle Fanning and Sally Potter triumph again. It’s not always an easy watch, but The Roads Not Taken tackles a distressing subject with care and invites us to reconsider our preconceptions.

It’s by no means good, but there are moments of effective emotion and comedy that make up for some of the dumber jokes, and sheer charisma largely carries it along.

The best thing about this is Tom Savini's superb, uncensored special effects.

It's just like a spectacularly excessive and melodramatically daft Cantonese crime opus, but in English, with a thumpingly trendy soundtrack.

Despite the odd fun bit of bloodshed, Halloween Kills is mostly tired, tedious and an insult to everything John Carpenter got right first time round.

Mike Figgis raised enough cash to make this with a pretty good cast and a lot of technical skill, but it's still hard to endure at feature length.

While the script occasionally plummets to the nadir of un-funny, there are plenty of MTV-style pop interludes to keep the little ones from drifting, and a stonking version of Money (That's What I Want) by Zendetta that is reason enough to sit beside them.

Suburbicon is a strange beast: a by-the-numbers ’40s film noir bolted to an unsatisfying ’60s racial drama wrapped up in a ’50s Americana satire. A strong cast and talented director never make the whole add up.

A much bolder, braver horror sequel than most. Except for a wispy ending, it’s a match for the first.

It’s enthralling as well as rambling, you do miss the songs, but there is clearly no place for them here. Best to see them as individual films with nothing in common apart from source material, one a classic, the other a strong enough picaresque amongst some decent fabulation.

Although it flickers to life at times, King Arthur: Legend Of The Sword devolves into a jumbled affair, weighed down by confusing supernatural elements and a lazy reliance on visual effects.

If you like your Bayhem pure and unfiltered, this one’s for you. Others need not apply.

Paul Feig is mostly back on form with a likeable, frantic, murderous, madcap money-grab of a high-concept comedy. It could be funnier, but it rarely stops for breath.

It’s hard to remember that this extremely unexceptional film was a major hit back in the 70s.

Massively throwaway, but funnier and more likable than the first entry. Mainly that's due to an A-list pairing that's as inspired as it is demented.

This one coasts by on Hanks' immense appeal and charm, but more focus and a touch more sharpness are needed to make it really come alive.

This deeply disappointing new Fear Street instalment leans too hard into worn-out tropes and excessive gore, at the expense of fun, engaging characters or any genuine scares.

A load of formulaic nonsense that should still turn a few young heads thanks to its fantasy plot and Jesse Metcalfe's chest

None of the energy of Mick Dundee's first foray has crept into this sequel, despite it being so close on the heels of the original. A must for lovers of the weathered outback and the even-more weathered Paul Hogan only.