A strong opening, bursting with wit and vigour, gives way to a predictable, patronising and immensely lazy second half. Could have been so much more.

Swank’s moving performance, the period dressing and beautiful planes all appeal, but dramatically it doesn’t really soar.

Neither terrible, boring nor soporific, just not very funny.

Fans of the book will be pleased that most of its highlights remain intact - including Dilbeck covering himself with Vaseline - but overall this is at best patchy, and, more damagingly, not funny.

A totally improbable scenario is hardly rare for a romantic film, but it’s harder to look past when characters are so thinly drawn. Pleasant enough but instantly forgettable.

Despite the talent on show, there's little to distinguish this from any other bland family comedy.

Tonally, Baywatch veers all over the place like a drunk on a speedboat, making for one of the most lacklustre comedies of the year so far.

A maudlin adaptation hampered by low energy and lapses of logic, The Secret Scripture does a disservice to the book it is based on, and the Irish history it plunders.

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

A poorly written, directed and acted imitation of the first. Not funny, not clever and, crucially, not cool.

A satisfying come-down by the director, who stays safely within, rather than pushes against comedy conventions.

What fun there is to be had is undermined by drab 3D, hacked-out dialogue and rehashed plots.

Serenity is a genuine headscratcher, baffling on almost every level. Badly scripted, strangely acted and poorly pitched, there is so much to pick over it’s hard to know where to begin. Sometimes the best of bold intentions are just not enough.

If you just want to look with admiration and Johnny and/or Angelina – and why wouldn't you? – this offers the full scenic tour, but it's one of those frustrating almost-good films which never really catches fire.

Lopez throws everything at this, but even major movie-star charisma can’t make up for the recycled story elements, tired exposition and endless psycho-babble. Maybe the machines can take over and do better.

Individual sequences are all impeccably assembled, Rourke's grizzled vet chips in some memorable deadpan dialogue.

If even a tenth of the care and attention lavished on the production design and action sequences had been afforded the script, this could have been an adventure of legendary proportions. As it is, this fizzles whenever anyone opens their mouths.

Talk about a pleasant surprise! Real storytelling, well thought-out and beautifully, at times insanely, executed, with excitement, laughs and fun to make you feel seven years old again.

On one level a fascinating refraction of the Amanda Knox trial into an examination of perception, on another an increasingly trying hall of mirrors.

A couple of good jumps but this Conjuring spin-off is led down by poor writing, anodyne leads and and overwhelming sense of familiarity

It's poetic, hypnotic and well-performed, but fails to either draw out its characters with conviction or fully draw its audience in.

A frustrating experience. It's beautifully shot, acted and designed, but there's little cohesion in the story. Maybe one day we'll see a better cut, but for now this is a sadly fumbled opportunity.

The Beverly Hillbillies turns into possibly one of the worst transitions ever. With a cast full of nobodies (who are nobodies for good reason, except Eleniak and that's for her breasts) and an uninspired script the whole film is a considerably patchy affair.

An anemic time-waster you've seen before that fails to create tension or generate the suspense this genre cries out for.

The predictable plot and gags make you feel like you’re watching it in cat-years, but there are a few successfully silly set-pieces that will delight kids.

Toying with themes too serious for it and stars too big for it, this fantasy is incalculably less than the sum of it's parts.

Less a Star Trek movie than a middling pilot episode setting up a series that will never come, Section 31 makes for a disheartening send-off for a once great character.

With its hackneyed storyline and critical derision in the US, whispers were that Honey was to be the new "Glitter." It's not nearly that bad, which is a shame since it just skims the embarrassingly blind enthusiasm of which camp classics are made -- instead bouncing along the path of bland and forgettable.