The Kitchen flits through scenes, coming across as its own trailer rather than a full movie. And it makes disappointing use of its great components, wasting three chewy, thoughtful core performances.

The result reaches overload very quickly, squandering the potentially cool premise in a headlong assault of set-piece over story.

The first film to be adapted from rather than into a Nintendo cartridge, Super Mario Bros, is a shrill, hectic and tiresome fantasy with little story, less excitement and no imaginable audience.

Clever premise, witless execution.

There are some amusing moments and some good performances despite the poor material, but it's not enough.

Despite solid performances and flashes of promise, Morbius is a flat, forgettable affair, failing to deliver an anti-hero origin story we can really sink our teeth into.

It’s far from the perfect storm, but The Hurricane Heist is stupid fun with a belter of a final sequence. Like the sound of a film called ‘The Hurricane Heist’? Then you’ll probably enjoy The Hurricane Heist.

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.

Unpacking classic fiction that has already been adapted a few times, once to critical acclaim, is no easy task. Yet while it’s not completely up to the challenge, The Turning at least offers up enough moody chills and a lead in Mackenzie Davis it’s not hard to root for as the craziness builds.

Director Blanks delivers a wholly pedestrian feature debut in this by-numbers teen horror flick that could give you the impression Scream never really happened.

A bang-on soundtrack will make the hairs on ex-ravers' necks stand up. The plot will have the opposite effect.

A decent cast gives it more credibility than it deserves.

Messy and unlikeable.

A self-consciously grubby and silly slasher that'll be lapped up by gorehounds, but which really belongs on the rental shelves.

The Expendables 3 has its cake and shoots it: armed to the nipples with vast action and bulging A-listers, but over-over-blown and overcrowded. See it for Gibson’s big-bad.

Part mystery, part black comedy, part metaphor for loss, Patrick is a nakedly true original. It also has the best caravan fight since Kill Bill Vol. 2.

For its target teen audience, it's a decent enough movie.

A stylistic departure from the shaky aesthetic of the first film. Sadly, most of its nervy shocks and creeping sense of unease go the same way.

This all feels a long way from Chandor’s glory days of Margin Call and All Is Lost. Save the occasional flourish, Kraven The Hunter is limp, tired, uninvolving superhero fare.

Two charming leads don't make up for a comedy that just doesn't quite deliver the laughs it should.

It’s no Scream. Or, indeed, The Babadook. But Kevin Williamson’s meta-slasher has solid emotional underpinning and a handful of ace scenes. And Sidney-f*cking-Prescott.

A blockbuster that offers enough quirky pleasures to feel fresh and unpredictable.

For an exposé very little is actually revealed, but as a neon-lit trawl through '70s New York, it's worth a look.

Comes across as more 80s TV movie than 50s period piece.

The wee'uns may enjoy the forest-based capers but for adults this is no pickernick.

Marginally better than Part One, but still a weird, messy and humourless sci-fi that gives you little reason to cheer the potential continuation of this Snyderverse.

Stupid, with three o's. But also fun, never boring, and never insulting (to anyone other than Dumas) - unlike certain of the summer's A-pics…

Amusing fluff.