If "Wedding Crashers" is in your top ten rom-coms ever, you might not hate this. Otherwise, it’s too gross to be sweet and too sweet to be gross.

If "Spider-Man 2" is this summer's main comic-book-movie course, Catwoman is clearly the leftovers.

An uneven tone and the feeling of too many cooks mars the finished product, but there are moments of beauty and real terror.

A wildly ambitious space opera, but also a self-indulgent narrative morass. Sometimes, it seems, creativity can benefit from a few limitations.

The script is clichéd and uninspired, the tone veering uneasily between unamusing comedy and over-sincere drama, all theological issues are weakly circumvented and the characters hardly relate to each other, let alone to any of their onscreen activities.

Occasional funny moments but this is very very thin.

A load of formulaic nonsense that should still turn a few young heads thanks to its fantasy plot and Jesse Metcalfe's chest

Surprisingly sedate telling of the rather well-known tale from Catherine Hardwicke.

Music And Lyrics never really finds its tone. Fans of Barrymore and Grant are likely to enjoy their pleasing ramblings, and the modern-day, down-to-earth courtship is handled well. But this is unlikely to go down as either actor’s finest hour.

Joining the ranks of Sphere, DeepStar Six and Leviathan as soggy Alien do-overs, Underwater finds a few tweaks to the monster play book, but not enough to make it live.

This super-powered spoof just doesn't fly.

Decent premises and the promise of Billy Crystal pale in a film that fronts up to, then whimpers away from, the prospect of leaping out of its genre's boundaries.

Big sci-fi ideas done on a budget doesn't quite translate into a compelling thriller.

Shrek this ain't. A lacklustre effort hampered by limp dialogue and lazy plotting.

It’s breezily fun at times, in a what-the-hey way. But, lumbered with a story that struggles to find resonance beyond its improbable plot devices and preposterous MacGuffinry, Justice League isn’t about to steal Avengers’ super-team crown.

Valiant though this low-budget attempt to reclaim Hellboy may be, it sadly lacks the storytelling and stylistic savvy to rise above its all-too-obvious budgetary limitations.

It has a few laughs and some stylish outfits, but this is unfortunately a shallow prequel, one which fails to breathe new life into the Hunger Games franchise.

Frankie & Johnny is a salutary reminder of what happens when two Hollywood stars, no matter what firmament they may inhabit, are lumped together without any real storyline, subtlety or sex.

There are films that demand sequels, and then there's Miss Congeniality.

Not dire, but you can’t escape the feeling that there’s a good movie in here trying to get out.

There’s no questioning the high-octane energy of Garth Jennings’ star-studded ensemble, but the cacophony grows a little tiresome. The show can go on, but that doesn’t mean it must.

Its title might be near-identical, but this legacy sequel is everything the original wasn’t — pleasantly gory, but light on atmosphere and really, really stupid.

Except for the success of Three Men and a Baby, (NOT Little Lady), Tom Selleck had great problems making the transition to the big screen. Here is another case in hand with such stereotypical characters as Hutton dominatrix and Hoskins Londoner.

Manages to be both very silly and highly forgettable. Only for those who collect killer-children films.

A disappointingly tame and unimaginative effort, which throws away much of what was best-loved about the original and fails to find worthy replacements.

Tarot is a personality-less horror that doesn’t overly concern itself with either character or plot. It’s here to deliver one thing and one thing only: cool kills.

Sadly, beyond the wigs, costumes and exquisite set design, its a vacant enterprise.

More shallow than The Shallows, and lacking the depth of even Deep Blue Sea, this has chuckle-worthy moments but will be forgotten roughly 47 metres down in the lower-echelons of shark cinema.