A low-fi indie that swiftly slums into terminal feyness.

Wonder Park has some fun bits (a narcoleptic bear) and a worthy sentiment around the value of going through tough times but it’s too hectic and untethered to land its loftier ideas. It aspires to be Inside Out but falls way short.

Watching Matthau and Lemmon in this vehicle is sometimes hard to stomach after knowing that they are worthy of so much more. Instead of making anyone laugh all it's poor, cheap comedy does is make you cringe for these respectable actors.

As action-packed as a holiday nap on a hot afternoon, this is a must-see only for Portakalos die-hards. Still, Vardalos’ sheer affection for the characters means it has a warmth that sustains it through weak jokes.

Unlucky for almost everyone. It's a sad day when a Friday the 13th remake is shown up by a My Bloody Valentine remake – couldn't they at least have sprung for 3-D?

The movie provides a fair number of laughs, even if you can't help wondering how many of them were actually intentional.

Exactly as ordinary as you're already expecting it's going to be.

Dialogue is all-cliché, a decent cast get not much to go on (if Wonder Woman put Nielsen back on the map, this does her few favours), and even the action scenes have a rushed, unfinished feel.

A film unlikely to do much for either the serial killer genre or motorway services tourist trade.

It's not just the saturated ultra-violence which make this film difficult to watch - there is something just not convincing about this vehicle for Costner's darker side. One thing is for sure though, driving a Jeep will never be the same again.

There’s a little bit of heart here, in the story of two people who have lost faith in Christmas for very different reasons, but more often this feels engineered in a lab to provide seasonal spectacle.

Far from the catastrophe the US bewailed, but still disappointingly clunky. Notch it between Eragon (below) and Dragonslayer (above) on a sliding scale of fantasy filmmaking.

Seemingly wishing to start another Conjuring off-shoot, this will be lucky to get out the gate. Without an original or fresh bone in its body, The Curse Of La Llorona smacks of unelevated horror for the very easily scared, not to mention pleased.

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

Ironically, given the mantra for its main characters is about embracing the weird, The Addams Family 2 does little that is out-there or different, delivering a safe, stale 93 minutes. Unlike that killer theme tune, it never actually clicks.

Commercially it looks a disaster. Artistically, if very far from a triumph, it’s interesting, almost held together by its charismatic stars.

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

Savage Grace is simply hysterical: a film as harsh, brittle and unbalanced as its characters.

More ho-hum than ho ho ho.

This is so derivative it has no soul of its own.

Standard-issue late-stage Netflix-era Sandler stuff: not exactly good, but goofy and charming in its own boneheaded, stick-it-on-if-there’s-nothing-else-on kind of way.

As twee as its title, Harold Fry probably won’t win over anyone immediately turned off by its premise. Broadbent and Wilton are as reliable as ever, but this tear-jerker mostly feels removed from real human emotion. It might inspire you to go for a nice walk, though.

Alicia Vikander gives a graceful performance and the lavish period production shines, but unfortunately this is more fizzle-out than fire-starter.

Despite Fischbach’s arguably admirable intent and exertion, this low-budget sci-fi horror makes Event Horizon look like 2001: A Space Odyssey.

There is a tender resonance in its cheesy sports drama operating with all the obvious moves.

There are plenty of fun CGI monster-skewering scenes, but a clunky plot, rigid script and equally stiff acting make this a crumbling disappointment, if not quite a disaster.

Overused, hyper-stylised pop numbers aren’t enough to mask the catastrophic misjudgements that Sia has exercised here. Were Music merely hokey it could be forgiven, but its ham-fisted approach to sensitive issues make this a massive misfire.

This is made with skill and thought, but this kind of character piece needs to wield a microscope, not peer down reversed binoculars: otherwise why bother? You will, however, find yourself Googling canal boat holidays.