Cinderella is given more independence, but at what cost? An irritating script ruins the sincere magic of the beloved story – strong music isn’t fabulous enough to preserve the DNA of a classic.

A solid haunting-possession movie with good character work and unusual local colour, this works in a few surprises, sufficient scares and a nicely barbed punchline.

Clint doing roughneck humour with an orang-utan, what's not to like?

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

Violent, silly, embarrassing, clumsy, confusing, juvenile, occasionally offensive, occasionally a little bit fun.

In another variation on a theme, this plodding drama may have its heart in the right place but, along side a gaggle of angst-ridden Hughes dramas of the period, fails to stand out amongst the crowd.

A little slow and vastly outdated now, but nonetheless very watchable.

Miss.

Lacks sparkle, and finally tips its gallery of colourful protagonists into the realm of caricature.

A typically formulaic seasonal sugar rush that’s only blandly mediocre, rather than so-bad-it’s-good. But Lindsay Lohan’s romcom-dominance cannot be denied.  

It’s third time unlucky for a series that still hasn’t worked out what it wants to be. The Last Dance can’t find its rhythm.

Stallone and Russell play well off each other, and with Palance lurking in the background, this buddy-breakout never loses its way.

Neither Bautista nor Jovovich can elevate this ugly-looking misfire. Fans of entertaining fantasy action need not apply. 

Better than the silly second instalment and boasting an effectively creepy empty world setting, it’s nevertheless scuppered by a lack of coherence.

Whatever it is they do so successfully on TV clearly fails to translate to the big screen, particularly when saddled with a script that does no one any favours. Sinbad, as an Afro-heavy 70s throwback, does his best to elevate things, but this stodge is beyond help.

The pair muster some chemistry but it's the big musical moments - including a gusto-packed Soft Cell riff - that impress most. Sadly, the pair's romance is predictable and the plot unfolds with all the freshness of a two day old fish supper.

This overwrought thriller is a pedestrian period piece that squanders its potential.

It’s Sliding Doors with place settings, but Love Wedding Repeat can’t make its time-loop conceit work (stick with About Time). Bouquets to the cast and production values; a quickie divorce from everything else.

On a scene by scene basis, it is mostly great fun but suffers from a contrived script which repetitively drags characters back to the eponymous magical board game for another effect-producing throw of the dice.

Alvin does high school rom-com and very poorly at that.

The action is sharp and imaginative, and Jordan strongly establishes his action-flick credentials. But story-wise it’s all very familiar and more than a little dour.

Perfectly watchable, undemanding fun, but you can't help thinking that a slightly darker tone would have gone a very long way.

A few laughs are salvaged due to the sheer quality of the talent present.

Moonfall is precisely what you’d expect a film called Moonfall to be: deeply, defiantly, sometimes exasperatingly daft. It’s Roland Emmerich on apocalypse-autopilot.

Part fever-dream, part supernatural thriller and not entirely successful as either, Louis Drax is nonetheless watchable, bolstered by provocative themes.

A more modest success than the first "Kick-Ass," but still of-a-piece with its scurrilous predecessor. Nobody flies a jet-pack up a skyscraper this time, but Kick-Ass 2 still has its share of over-the-top action, and the sweary laughs are just about intact.

Fleeting charm and pretty packaging will leave you partially satisfied but later craving a bolder film that puts its battle-worn title character to better use.