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

It’s well designed and shot, but in service of a story that never coalesces into something intelligent or compelling.

This is simply more fairly generic and forgettable family fodder.

Destined to be an instant guilty pleasure, Cats is an insane musical experiment gone wrong. It is truly like nothing cinema has ever seen. The question is, is it something cinema actually wanted?

A typically formulaic seasonal sugar rush that’s only blandly mediocre, rather than so-bad-it’s-good. But Lindsay Lohan’s romcom-dominance cannot be denied.  

An inoffensive but inessential addition to Neeson’s latter-years thriller canon. Less the bus that couldn’t slow down than the car that couldn’t get started.

On such a limited level this delivers; if you take the kids, leave them to it.

An uneven debut from John Slattery that nonetheless shows flashes of flair and a jet-black sense of humour.

Brando rocks the boat with his dodgy accent and lowers the tone as history gets rewritten as vanity project.

Lovely visuals, but this is a rare miss from Sony Pictures Animation. Watch KPop Demon Hunters again, instead.

There's little tension or opportunity for emotional involvement in the brief story, and despite competent animation the cats are rarely anthropomorphised to good comic effect. One for anime - and animal - lovers only.

It’s not the fault of either star, but the half-baked script makes this an unsatisfyingly thin exploration of the weighty themes it seeks to cover. More intellectual cut-and-thrust and fewer flashbacks would have helped.

Both the well-choreographed crash scenes and the gritty cinematography hint at a better film. Shame no-one took the time to make it.

I Feel Pretty is an intermittently funny vehicle for Schumer’s talent that never really gets to grips with the ramifications of its high concept. Its heart is in the right place, but its head is somewhere else.

A great disappointment by the "City Of God" man's high standards.

While the script occasionally plummets to the nadir of un-funny, there are plenty of MTV-style pop interludes to keep the little ones from drifting, and a stonking version of Money (That's What I Want) by Zendetta that is reason enough to sit beside them.

Confusing and uninspired rather than completely inept, it’s still likely to be swiftly struck from the résumés of all involved.

Despite some warm performances, it’s very hard to ignore the feeling that this is largely just two hours of product placement.

Dull and often exploitative, Daniel Isn’t Real coasts on the familiar faces of its lead actors while wasting their potential.

Even The Rock's immense charisma cannot save this predicatable fare.

For all the special effects and half-starved A-listers, this is a sodden beast. Perhaps there’s a reason that Melville only told half the story.

This mess isn’t likely to reboot or revive the American franchise.

It’s just a waste. The premise is ripe for absurdity and the talented supporting cast have interesting quirks that might have livened things up if Shepard ever gave them the chance. Instead, aside from a few surprisingly gory moments, this makes the original show look good.

Fans beware - your fave two sci-fi franchises have been stripped of all their guile and maturity.

Despite some solid action beats and a story that skips from Sudan to Afghanistan, Paris and, finally, Guildford, The Old Guard is a trite revenge/conspiracy yarn, clumsily told (“That woman has forgotten more ways to kill than entire armies will ever learn”), and squanders a potentially engaging conceit.

It’s always nice to see Illumination outside of its Minions comfort zone, but Migration is mostly generic. A bit of a flightless bird.

Sporadically amusing but rarely inspired.

Sadly, this will not go down as one of Brooks' classics.