A disappointment. A premise with much promise has been turned into a bland retread through YA’s most familiar faults — despite some bold efforts from Holland, Ridley and Mikkelsen.

A photocopy of a photocopy, this could perhaps be the nadir of the wave of decade-too-late comedy sequels. Only Thornton completists, and hopeless nostalgists, need apply.

Derivative it may be, but with its echoes of "Speed," "Lethal Weapon" and "Die Hard With A Vengeance," this is a welcome throwback for audiences raised on '90s action flicks -- what they used to call "a pulse-pounding roller-coaster thrill-ride of a movie."

Touches on some interesting philosophical ideas, but it's poorly-produced and unclear in tone.

If you're after Sharon Stone in the buff, rent Basic Instinct. It's not a terrible way to spend an hour and a half but it just doesn't fulfill its potential. Stone and Baldwin try to get raunchy but find themselves in desperate need of a fluffer.

Unapologetically preposterous, but it is a (very sweet) fairy tale and Highmore is captivating.

Deeply misconceived and steadily unfunny, this feels longer than its running time. A few moments of emotional honesty between mothers are the only bits worth watching, but they're too scant to save this mess.

Not bootiful.

A thin soup of weak jokes and contrived drama.

A Rainy Day In New York hits all of Allen’s touchstones, has a few good one-liners and is well played, but it sorely lacks the wit, vitality and veracity of his ’70s/’80s heyday.

A very pompous version of the kind of nonsense Chuck Norris has been doing in far less embarrassing fashion for so many years.

Murray doing what he does best, if you like that sort of thing.

With a better story, director and support cast, Martin could have made Clouseau his own. Still, it's not as bad as the one with Roberto Benigni.

Amazing – a movie that somehow manages to be both irritatingly familiar and instantly forgettable.

If "Crash" set your teeth on edge, book in at the dentist's before seeing this one.

Both heavy-handed and ham-fisted, this is a self-important morality tale where you can see everyone's uppance coming long before it arrives.

Unashamedly rubbery fun.

Being over-stuffed and heavy-handed are not even Crossing Over’s biggest problems. That dubious honour goes to an absolute failure to address its nominal subject-matter in any meaningful way.

It’s an adequate retelling, mostly, but with moments of eye-rolling ineptitude.

If it doesn’t hit the Top Gun: Maverick heights of legacy sequels, Jurassic World Dominion is scattershot but entertaining, delivering fun, familiar set pieces. Come for the delight in seeing Neill, Dern and Goldblum together again, stay for the bit where a bloke on a scooter gets eaten.

With so many high standing peers (both contemporary and classic), it just doesn't have the muscle or the nous to make an impression.

The players are a colourful bunch, the film referencing is smart, the football satire sharp and there are delightful moments of visual imagination in the appealing animation.

It has a strong, game cast but this is karaoke filmmaking, trading on nostalgia rather than breaking new territory. Affable but forgettable.

Less a hangover of a sequel than a satisfying belch to rid the world of the original.

In spite of A-list acting and directing talent, this is a tick-the-boxes recovery and redemption true story that never rings true.

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.

A large step backwards for a promising director and far from the return we'd been hoping for.

Gothika never delivers anything more than the occasional, cynically engineered jolt and often drifts close to provoking giggles.