Despite a valiant effort from Justice Smith, the satire in The American Society of Magical Negroes feels aimless, scattered across a story that struggles to pick a meaningful direction.

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

On the more inoffensive end of Netflix’s original output, Heart Of Stone is a perfectly watchable and often daft bit of fun, but its mission to supersede Ethan Hunt might prove to be impossible.

This is one expensive folly.

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

A huge, bulging disappointment.

Bland enough to make millions as culture edges closer to oblivion.

Fatima raises some intriguing questions about faith but sadly fails to make us believe in anything more comforting than the climate of fear, distrust and grief that flourishes during wartime.

Less fun than last time and oddly unpleasant in its tone. MacFarlane takes potshots at everyone he can find, while shielding the two characters that deserve it most.

This latest attempt to adapt the world’s laziest cat for the big screen just feels plain lazy: pure kids’-movie-by-numbers. The cinematic equivalent of a Monday.

The rapid-fire editing and glossy photography can't disguise The Fan's hollowness or De Niro's phoned in performance. A disappointment.

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.

The Michael versus Laurie showdown delivers — but for the most part, Halloween Ends is an unsatisfying closing chapter for this continuity. In trying to grapple with the horror beneath Michael Myers’ mask, it gets lost up its own abyss.

This leaden relocating of an iconic German saga to 16th-century France isn’t helped by the miscast Mads Mikkelsen’s morose display as Michael Kohlhaas.

Deeply forgettable and disposable, this is the kind of action-comedy you will feel like you have seen before. But Halle Berry and Mark Wahlberg are good fun, at least.

Wringing the last drops out of the idea, it strains to stay on-side, but it remains true enough to the spirit of the series to get it over the line.

The concept of combining Adam Sandler and horror is not a bad one. But this is no Abbott And Costello Meet Frankenstein. Instead, Hubie Halloween inspires mild dread for all the wrong reasons..

Unforgivably terrible.

Two actors have wasted their considerable talents on this hapless comedy. With a flawed plot and far too few jokes, it's understandable why this isn't a particularly memorable film and just as well it's disappeared without trace.

Driven by cliches and almost completely ignoring the psychological growth of the children coping with the loss of their parents, it doesn't take long for this to descent into meaningless schlock.

While the supporting actors are engaging, the turgid screenplay lets the whole thing down.

Mildly titillating, but not very good.

Despite being anchored by moments of real emotion and good performances from James Purefoy and Imelda May, One And All often feels like it’s taking on water while drifting further out to sea.

The performances are solid - Goodbye Lenin! actor Florian Lukas is the standout - but ponderous pacing makes this true-life tale a lot less enthralling than it might have been.

Ridiculous premise and hilarious acting which is mostly famous for the Lolita-type Brooke Shields cavorting in tropical settings.

It purports to celebrate the pursuit of science, but this film may have single-handedly set the space programme back a decade.

Perhaps no more absurd than the Verhoeven version, but certainly less amusing. Farrell and Beckinsale emerge unscathed, but the endless scrabbling for novelty and reinvention leaves this feeling unaccountably stale and familiar.

Painstakingly shot, but emotionally fallow.