WALL•E director Andrew Stanton weaves together three different stories across three different eras of human history. The result is a streaming epic as painfully sappy as it is structurally ambitious.

Pretty much cardboard, down to the heroic patriotic speeches, and less distinctive even than last year's scarcely stellar "Skyline," which trashed the same city. Things blow up good and Eckhart is a classier actor than his role warrants, but we've all been here before.

Exactly what you’d expect from a crime-caper action-comedy pairing Dwayne Johnson and Ryan Reynolds. Nothing more, nothing less.

A waste of space.

Braindead and done to death, this somehow remains a relatively fun ride.

Experimental and uncompromising, Winding Refn and Gosling’s Drive follow-up is a tripped-out riff on the crime family movie in which The Grifters — literally — go to hell.

With Cage as a harried cop, Cusack as a serial killer and 50 Cent as a pimp, we're assuming the casting department kicked off early on this one. Still, there's plenty in this taut thriller for you to stick around for, not least the reuniting of the Con Air duo.

The third Cloverfield film is just about a Cloverfield film, but definitely a disappointment, trading on its name but not living up to its already muddled heritage. Only intermittently fun.

The moments of fan service might keep the hardcore happy, but for everyone else over the age of five it’s just a succession of loud, bright things happening without any real point.

If you pay out money to see this, you got fleeced.

It's mindless entertainment, but its critical and commercial failure doomed the pirate genre to a watery grave.

It'll split the ranks like a pizza cutter: you might admire it as a Warholian blur of pop art, gawp and gasp at its Hot Wheels-for-real dynamism, or get a headache.

An uneven study of a notorious love story, raised by some superb performances and nuances, but brought down by awkward direction.

A collage of strong scenes, dull bits, good filmmaking and a dissatisfying emotional payoff. A laudable attempt to tackle heavyweight subject-matter that ends up just being heavy weather.

This grungy anti-musical will offend just about everyone with its attitude towards women, gays, kids, and the elderly.

A brave effort from Richardson with another outstanding performance from Foster.

Yeah. Light and fluffy it may be, but this is undeniably entertaining stuff.

Despite a handful of cool moments, The Killer’s Game turns out to be one not worth playing.

Hanks, it seems, is good enough to survive any film. The dog, too, works wonders with a standard script.

A film that isn't so much bad as bizarre with Willis disastrously miscast as a gun-hating trauma victim and the kind of ending that even the writers of Scooby Doo wouldn't dare contemplate.

Depressing and trivial.

Brand fan? You'll likely enjoy his antics. But Russellophobics would be better off seeking out the original.

Powerhouse cameos, just enough sauce and extra anchovies that no one will be complaining about.

Throw in the blatant signposting of every plot turn and mood shift, and what could have been a gripping tale becomes hammy and overdone.

Despite the extended running time jam packed with action scene after after scene it still feels a little short on content.

Setting and performances aside, Damascus Cover is a forgettable spy thriller that bulldozes over its real-life relevance in favour of shoehorned romance and hackneyed characters. Less Mission: Impossible; more ‘Mission: Thrown Out The Window’.

An unremarkable and quickly forgettable B-movie. Jessica Alba makes a decent stab for John Wick’s particular brand of movie vengeance, but she needs better material than this.

Ruinously prioritising chic over content, this is intellectually and stylistically shallow when it should have been dynamic and compelling.