Moderately lame horror.

An old school romantic thriller that lacks the subtleties and sophistication of recent spy storytelling, be it on the big screen (Bridge Of Spies) or small (The Night Manager).

Like "Ghost Rider: Low Voltage," this is a surprisingly underpowered excursion into Marvel's mad world by Neveldine and Taylor. More purgatory than hellfire.

Less than crowd-pleasing chick flick livened up by John Cusack’s self-penned one-liners.

Sugar Hill wants to be very different to the other Boyz in the Hood style films by using a second rate Spike Lee approach but sadly it doesn't make the film any better, only highlighting its failures. With the market heavily saturated with these 'hood' gangster films, this fails to stand out.

Not even the considerable talents of the ever watchable Naomie Harris can elevate Black And Blue above the broad and generic. The result is sadly aggressively formulaic.

It’s not the worst of the trilogy, but this is less for fans of thrillers and more for people who are pining after last year’s holiday to Florence.

The Merlot to "Sideways" Pinot, this is one of those middling movies that, while never terrible, also never really impresses.

Good intentions, but dull and predictable.

By the time everyone's done their darnedest to undermine this romance and the tirelessly selfless St. Danny has begun to contemplate cutting the apron strings, they've all nearly worn out their welcome. It's simple, sweet and uninspired.

It’s at its best when it’s an old-fashioned song-and-dance princess story, with Zegler and Gadot broad but effective, and at its worst in any scene involving the digital dwarves.

A serious misfire.

Pretty as a picture, but emptyheaded as hell.

It huffs and puffs to entertain but Five Nights At Freddy’s 2 falls flat on most levels. Animatronic chickens wreaking havoc should be much more fun.

It’s by no means good, but there are moments of effective emotion and comedy that make up for some of the dumber jokes, and sheer charisma largely carries it along.

Margaret Qualley is lively and engaging, but Stars At Noon is let down by a wearingly meandering plot and lacklustre chemistry. Not one for the Denis hall of fame.

An exhaustive yet still superficial and queasy look at the awful liberties the world took with one woman’s life and image — and is now doing all over again.

Pretty cinematography and a committed performance from Amy Adams fail to save The Woman In The Window, a film that aims for Hitchcockian thrills and lands in afternoon TV territory.

Fun in parts, and Stallone's always watchable, but it's an '80s tribute movie that coasts along on rapidly diminishing goodwill. Beige Heat, if you will.

McKellen has fun as the bitter, biting Erskine, but the plot takes so long to come together that at times he’s the only thing holding the audience’s interest.

In between his successful Back II the Futures and his stint on Spin City, Fox's career was in freefall with this film proving the point. Although he is as charismatic as ever, it's not enough for the viewer to actually sympathise with Fox's character, or even lift this poor comedy enough to get a laugh.

44 Inch Chest gets by on the quality of its performances.

Loud, silly and tired. Aside from an almost-fun Jackie Chan cameo, this is enough to give anyone a severe nut allergy.

The ensemble acting is so strong the characters are likeable without being annoying, and aside from the odd corny line which serves as a reminder of the movie's stupidity, if taken at face value it becomes a fair enough yarn with bundles of energy.

There were a few sci-fi movies in the 70s that managed to transcend the genre and become fairly well known in the mainstream. This weren't one of 'em and for good reason.

Packed with more clichés than a pizza has pepperoni slices, this is truly disappointing, especially after Lane’s stunning performance in "Unfaithful."

While [Penn] has all the heavyweight America-gone-sour themes and confused characters found in roadside movies like Five Easy Pieces, Electra Glide In Blue or Thieves Like Us, he misses the eccentric and exciting spikiness that made them more than just gloomfests.

Falls between romance and drama without really satisfying either.