Mark Wahlberg is convincing and committed as a foul-mouthed Father, but this is ultimately just religious propaganda — preaching exclusively to the converted.

A genuine oddity, Welcome To Marwen may not hit the emotional highs but mixes high-concept fun with a sincere attempt to describe trauma in an original visceral way. And Zemeckis’ filmmaking remains exemplary.

Aside from Rose Byrne's complex performance, there's nothing here that improves upon the original.

So the boy can act -- this is the best thing he’s done.

Fleetingly enjoyable in very short bursts, this is the most cynically constructed event movie in recent memory, its heart purely in its wallet. A fantastic bore.

You’ll be jolted a couple of times, but these aren’t scares that will stay with you. How about retiring “based on a true story” in favour of “based on a good story”?

By stifling Hart’s seasoned comedy-fuelled charisma, this overly stylised crime caper is a turbulent ride. Stay for Mbatha-Raw’s righteous action skills, which should propel her to bigger and bolder things.

Unwieldy and flawed, but Stone remains a tornado in an era of airless formula and -- to paraphrase our Ptolemy -- its failings are greater than most films’ successes.

Worse than Scary Movies 1 through 3… And they were terrible.

For much of its slowburn build there is a classy, intelligent thriller at work, something closer in tone to The Odessa File. Still, you must remain guarded to how over the top and quasi-horror events will finally turn.

With jokes that routinely miss the mark and cringeworthy slapstick, this black comedy farce shouldn't work. Somehow, though, it does.

Given such a cloying and utterly predictable plot, it's surprising that Three Fugitives works as well as it does. Nolte, all big shoulders and bashfulness shows a pleasant self-deprecating talent and copes very well with the array of humiliations ranged against him.

A microwave meal of a kid’s film, consisting of tired tropes and bland platitudes. This particular village should have stayed lost.

Considerably better than its predecessor, the central four may give it their all but the people behind this franchise sadly don’t seem all that interested in their crime-fighting, pizza-eating heroes.

A tired retread of better jokes in the first two movies, this drags along to an admittedly heartwarming conclusion. But it’s a good thing this caps the trilogy because it’s coasting on fumes.

Largely devoid of any charm or intelligence that made other Apes films entertaining, this one should be buried in the Forbidden Zone.

Kids will love it but adults may find it just too silly to sit through.

Christopher Walken sleepwalks his way through playing smarmy Nazi geneticist Zorin, where you would think he would have a ball hamming it up as a Bond villain. Indeed, it is a rare moment when Grace Jones makes the biggest impression as an Amazonian (naturally) henchman called May Day.

Van Damme's doubling up merely tends to make this movie, co-written and co-produced by the self-styled Muscles From Brussels, twice as avoidable as it would otherwise be.

A riot of confused, clever and dazzling moments, Toys is a true formula-defying one-off for which the phrase love it or loathe it might have been coined, and one so audaciously zany that you will be captivated or enraged.

Like too much filmed space opera, this is wonderfully imaginative when it comes to costume, art direction, special effects, spaceships and incidental alien creatures but stuck with old-hat character types and a resolutely unspecial storyline. It’s frequently entertaining, but as much for its terrible moments as its inspired touches.

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.

The chases, fights and fun bits of spy craft are brightly and pacily shot, but the 'twists' are barely surprising. These women, and these characters, deserve more.

Morally dubious it may be, but this gory melange of torture, terror and darkly humorous depravity appeals to the sick puppy within us all.

Pitched halfway between a comedy and a morality tale, this space race often falls between the two, but is mildly diverting and boasts a strong young cast that will go on to make better things.

Unsurprisingly this is the worst in the RoboCop trilogy, with the plot proving ridiculous, excelling itself particularly in the climax. For what was a promising debut, it's reputation was quickly tarnished with the drivvel such as this that followed.

Exactly as ordinary as you're already expecting it's going to be.

What's missing here though is the novel's trick of being a wonderfully contrived mystery on the surface while underneath lurks an angry and upsetting analysis of class injustice in the USA.