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

Given the story is based on reality, it’s understandable why the makers of 6 Below didn’t want to throw in embellishments, but a bear attack really wouldn’t have gone amiss.

Can everyone stop making moody origin stories now, please? While not a disaster, this isn’t the claws-out, rampaging adventure we hoped for. No-one cares where Wolverine found his jacket — a spin-off with him kicking ass in Japan would have been way more fun.

Armour-clanging, cloak-swishing tosh with okay battles, terrible dialogue and sadly little horror or heroism. Nowhere near as bad as I, Frankenstein – but what is?

Martin Campbell made Zorro and Bond work as contemporary heroes, but doesn't quite have the feel for poor old Hal Jordan. Green Lantern is dazzling in pieces, but we've seen too many sharper versions of the superhero origin story in the last few years. It's not Jonah Hex, but the battery runs low too quickly.

In the title role, newcomer Smith shows vestiges of an intuitive and moving performance, but he's swamped by a veritable tsunami of sentimentality and hamstrung by cute dialogue.

A famously disastrous follow-up to William Friedkin’s horror hit.

Despite the promise of the title, this a fairly stale offering, plodding through the beats of a well-worn subgenre but failing to add much more than a foul mouth.

The CG does its part of the bargain, but even more than the brighter, breezier original this is a pale imitation of Potter.

For its historical detail and recognition that teenagers were around long before James Dean sparked up a Marlboro, this film deserves some credit.

Part 4, to its credit, is the noisiest. Disappointingly, it's also the worst: not bad, just not as good.

If you don’t like Saw, this isn’t going to change your mind – but it’s skilful, satisfying schlock and respectful of its fanbase. And the final death is a show-stopping coup de grace.

A pleasingly intricate double (or is it triple?) revenge plot anchored by excellent acting, with a terrific burst of action at the climax.

Outdated and predictable revenge saga.

A family comedy lacking the double level of humour that make the modern ones so successful. The jokes are obvious but never very far away. Russell puts in a worthy performance as the irrepressible Ron and Martin Short is typically neurotic as the father.

Poorly written nonsense, but lovers of beefcake action will be happy enough with the heroes gymnastically vaulting monsters and slicing and dicing their way around the ancient world. An extra star for Ralph Fiennes, who is a god.

Sometimes this kind of comedy just goes too far into rubbishness to make it back.

High hopes of magic from the Gondry-Rogen pairing are dashed. Some neat touches aside, this isn't so much eternal sunshine, more superbad.

The target audience - pre-teen girls - aren’t going to notice the many shortfalls behind the camera. What they’ll enjoy, regardless of quality, is some naughtiness true to the spirit of the series, Russell Brand and Girls Aloud. For the rest of us it’s tougher going with mostly Everett and Firth to see us through.

A well-meaning but corny football fable.

A comic thriller that isn’t especially funny or particularly exciting, The Family Plan is an overlong slog that struggles to make use of its game cast.

Should be judged in context but even then it's a bit high on the melodrama and low on subtlety.

Less a three-lane pile-up than a minor traffic violation in a residential area. Three points for Waugh, then, and a £60 fine.

As sweet as a sugar plum and only slightly more nutritious, this shows scars from a tumultuous road to the screen but still emerges as a whimsical, likeable fairy tale.

It's like "The Bridges Of Madison County" with more shouting, only not nearly as good. No surprises whatsoever, but nice scenery, attractive stars and another credible, affecting performance from Lane that hoiks it up an extra star.

Further complicating the already indecipherable lore of the first film, The Boss Baby 2: Family Business is nice to look at but unfunny, unengaging and unintelligible. May it grow up soon.

The cast is strong and the first act has an intriguingly dreamy quality, but it gives way to a soggy ending.

Peter Farrelly’s latest semi-serious effort is light, goofy and sometimes perilously frivolous. But like sharing a few beers with your buds, you soon warm to it.