It’s nonsense — but at the very least, well-meaning nonsense.

A lot of fun.

All pout and pose, with no spine to speak of; a beast with no back.

Though not without charm, and some splendid CGI, this scattershot grab-bag of good intentions results in a bit of an emotional flatline. This puppet will not tug on your heartstrings.

While the kids may sing a storm when at last they get down to mixing Beethoven, gospel and rap, in the good clean fun department this is monumentally weak and derivative.

A trippy mix of horror, thriller and sports movie, Him is a very wild ride. A launching pad for its director and lead, and a shining moment for Wayans.

Sadly the plot leaves a lot to be desired with major flaws never far away. The in-jokes are amusing but their novelty soon begins to wear thin.

A tense and nasty thriller, Mile 22 is a frustrating experience that makes you wonder if Peter Berg should stick to depicting real-life tragedies instead.

One of the problems is that King usually writes about cliche subjects so well that you don’t notice the hackneyed aspects of his books, and so when all the character detail, precise backgrounding and elaborate plot setting-up mechanisms are pruned away, all you get is a dumb TV movie with characters doing insanely stupid things to prolong the agony.

The look, created by Hooper’s cinematographer Daniel Pearl, and expert art direction is persuasively nasty… but somehow that buzzing saw doesn’t sound as scary as it used to.

It's not hard to figure it out, but Caruso manages to throw in some tense moments that almost -- but sadly not quite -- make up for the film's daft ending.

It's no "Battlefield Earth," but it's no "Dune" either. And, no, before you ask, it's not destined to be a cult classic.

The script is clichéd and uninspired, the tone veering uneasily between unamusing comedy and over-sincere drama, all theological issues are weakly circumvented and the characters hardly relate to each other, let alone to any of their onscreen activities.

Neither a Medellin-style disaster nor an Aquaman-sized hit, this pays decent fan service but an Ari-centric spinoff might have been the smarter move.

Director Alan Taylor handles the big action adeptly as he did in Thor The Dark World, but the script is an ever-decreasing cycle of tool-ups, chase sequences and daft monologues.

It gives you two Will Smiths for the price of one, but you still might feel ripped off by its clunky dialogue, thin characters and underwhelming action. Encourage your younger clone to avoid it.

Technically competent, but essentially a fantasy movie that mistakes industrial light for magic. As dragon movies go, Dragonslayer, Reign Of Fire and even Dragonheart can rest easy.

A weak shadow of Eddie Murphy’s action-comedy yesteryear, The Pickup would be better off being left unpicked.

Shadowy political trickery is one thing, fabricating an entire NASA mission is near impossible to credit. Get over that and it’s a whole lot of fun watching Hal Halbrook’s — who played supergrass Deep Throat in All The President’s Men — wicked scheming unravel thanks to the gutsy work of Elliot Gould’s tatty hack.

Unasked for, unnecessary but unexpectedly enjoyable.

There’s just nothing quite like a good crime thriller. But, despite Banderas’ best efforts and some stylish camerawork, this is nothing like a good crime thriller.

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.

Sweet, slushy mush of a family film.

Like Paranormal Activity at a wedding - Paranuptial Activity? - this low-budget horror has its moment. Much, much better than Legion, although not as scary as the actual Book of Revelation.

It won’t win any awards for originality but Flight Risk is a fun, unpretentious, tight 91 minutes — especially if you’ve always jonesed to see Downton Abbey’s Lady Mary cream someone with a fire extinguisher.

Particularly disappointing given the names involved, it's only mildly amusing at best, and more often downright tedious.

Just don't walk in expecting to become a believer by the end.

The film seldom raises itself above the level of pleasant. And pleasant ain't sophisticated, and it certainly ain't sexy.