Fun musical numbers and cartoonish humour give way to a bland sermon about the evils of the music industry.

Its popularity continues to confound critics everywhere.

Another deeply flawed, tech-forward endeavour for Zemeckis in which glimmers of human emotion only occasionally break through. Like Cloud Atlas for baby boomers experiencing late-middle-age malaise.

"The Karate Kid" meets "Fight Club" but it's no way near as good as it sounds.

Well-intentioned, with a strong performance from Andra Day — but uneven human drama eventually gives way to boringly familiar horror tropes. All round, The Deliverance struggles to deliver.

As a perfectly serviceable horror movie, it at least gets the Exorcist franchise back into respectable territory, but there was the potential for something much better.

Although evidently a rip-off — there were hints of Lucas even taking the matter to the courts — this spacebound wagon train, whose limits are readily apparent, is great fun.

Hardly promising but, thanks to James' winningly gung-ho underdog and the fat-man grace he brings to a pratfall, unexpectedly watchable.

The Darkest Minds boasts a decent cast and a fairly interesting premise centred on likeable characters. But its banality squashes any potential it had, resulting in a safe, forgettable sci-fi.

In the Insta age, this paean to body positivity and living your own truth is more than welcome, but you just wish UglyDolls’ message could be more charmingly argued, adroitly assembled and just plain funny.

Quality premise, poor execution.

Sub-Ludlum plotting but stylishly executed, this offers a fun night out but is far from a nailed-on franchise-starter.

It’s juvenilia, straight-up goofballing, but there is a tittering innocence at work here.

This is amiable enough and perhaps one shouldn’t expect anything more from the team that brought you Police Academy (writer Hugh Wilson) and Major League (director Ward). What really lets this down, though, is the uninspired plot and one-dimensional characters. While it’s true that this was never going to be a high-brow evening at the pictures, the air of familiarity it leaves behind proves to be a major disappointment.

Showing more enthusiasm than aptitude, this earns ‘could do better if it tried’ on its report card — but it’s a strange enough genre mix to be vaguely worth a look.

It’s occasionally funny, but the moments of sincerity are undermined by the unformed sense of grievance and bitterness at the whole wide world.

An odd, messy, misjudged shambles. You can’t fault the earnest tone or the plucky performances, but you can fault almost everything else.

The plot unravels in unwieldy dollops, and, despite some adequate special effects (for the time), the whole thing is really a bit of a bore.

Gerard Butler stars in a very good film where he helps a guarded woman get over a tragedy in her past. It’s called "Dear Frankie" - go rent that instead.

You know Freddy may or may not be finally dead, but he's looking pretty damn tired.

Annie remains a heartwarming tale, with fine music and decent acting performances.

Not the return to form you might have been hoping for. Its story might cover all the same beats as the 2003 original, but there’s little of that film’s spark or spirit.

Dear Evan Hansen gives enjoyable, tuneful voice to important modern-day concerns but lacks the dramatic and cinematic chops to really take flight.

Hugely impressive musical and dance performances from the two young men playing Michael Jackson cannot shake off the uncomfortable fact that there is an entire other side to the pop star’s story which is entirely conspicuous by its absence here.

A second-rate slasher, but it shows the odd bit of directorial promise and a great deal of ambition.

The world can only hope The Swamp Thing's abode is now bulldozered and turned into a shopping mall.

Not a complete disaster, but also not the vampire / werewolf mash we've always wanted.

A Pixney misfire.