It’s easy on the eye, and indeed the brain, but this is nowhere near as sharply written or plotted as it should be to bring these characters to life.

Roth's slick shock-'em-up sequel is a dispiritingly traditional splat of gristly Grand Guignol. It's tooled up to outrage, but ultimately numbs rather than grips.

In spite of two great performances, this is a muddled affair.

Strictly-for-fans-only. Bono is a charismatic chronicler of his own life, but the self-conscious storytelling concept is a harder thing to stomach for non-enthusiasts.

An anti-capitalist fable that lets down its star power with an underdeveloped script. All of Good Fortune’s good intentions don’t make up for it being such a mediocre time at the movies.

This big-spy-meets-little-kid comedy isn’t funny enough for teens, but not really suitable for younger viewers either.

However exotic the locations and starry the stars, there’s no escaping this is The Devil’s Advocate of online gambling. Fold.

Comes across as a TV movie and overall, a disappointment - a high calibre cast and concept completely squandered.

A clever idea that can't find its feet on the bigger stage.

One’s a cop who can’t shoot straight! One’s a kid with a nose for trouble! Together… they lack the wit, thrills and rapport to deliver fun genre times.

Miss.

No plot, no real story, no point really.

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

The Last Days Of American Crime takes a potentially entertaining, if silly, premise and drains it of any reason to get invested. You can just imagine a John Carpenter would have doubled the thrills in half the time.

Writer-director Jill Sprecher doesn't have the deftness or sad humour that P. T. Anderson uses in his similarly contrived group portraits, but the cast are, at least, individually fine.

Doesn't really cut it in the Western genre.

Despite strong turns, it feels little more than an Egoyan lecture on Serious Stuff; lots to talk about, little to enjoy.

Not so much a ripping yarn, more of a dripping yarn, Yates’ reinterpretation of the Lord Of The Jungle is a big disappointment.

The inconsistencies in tone - is it an Anchorman-style farce or something more serious? - distract from likeable turns from the leads.

Grim and gritty. Warning: contains punishing scenes of testicle burning.

A dodgy script and weak direction means the decent performances fall flat.

Messier and heavier than Days Of Future Past, this is not so much the next step in the X-Men’s evolution as a failed callback to past glories.

Despite some fun action excess and an impressively committed performance from Bill Skarsgård, Boy Kills World is a muddled, tiring mess, favouring violent shocks over cohesive storytelling.

This true-life tale takes some believing in the era of global warming (too much ice? Really?) but the sledgehammer emoting should let you know you're in a family drama.

Despite strong performances from Cookson and Dench, this potentially exciting espionage tale is dreary and forgettable.

Even the gratuitous nudity can't quite save a Heathers-goes-to-college horror that's undermined by a silly plot and clunky dialogue.

Sleepwalkers, Steven King's first original screenplay, is horror filmmaking by numbers. It has monster fiends, a few swooshing tracking shots, many a touch lifted from every self-respecting vampire movie ever made, and several weak but intentional laughs to indicate that no one here is taking the thing too seriously.

Newcomers will be puzzled by the clumsy contextualisation and muddled motivation of characters who, robbed of their inner lives by a clunky script, are left floundering amid the melodrama and speak-the-plot dialogue.