Indeed, the only bright spot in the film is Amanda Plummer — the wacky object of Robin Williams' desire in The Fisher King — with a brief but memorable cameo here as a futuristic nun who swears like a trooper, carries around a rifle and thinks turning the other cheek is kicking a guy in the balls.

The cinematic equivalent of being teabagged without your consent.

It’s neither funny nor charming enough, proving a disappointing treatment of fabulous source material.

Sporadically amusing but rarely inspired.

It’s well-intentioned and manages some nicely judged messaging by the end, but Harold’s mugging and his animal companions’ antics aren’t nearly as cute as the film thinks they are.

An unfortunate misfire that has the odd moment of charm and the odder chuckle, but otherwise isn’t worth keeping up with.

Trivialising despair, it’s a depressing waste of a major cast, and an early bid for mess of the year.

The setting is glorious and Dormer is on form, but the scares can’t match either.

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

It’s quite an entertaining little effort, combining the craziest aspects of classic Hollywood screwball comedy with the kind of fresh insanity found in the great cartoons.

A disappointingly slight offering from a filmmaker that we know is capable of so much more. Shyamalan says that The Happening was his easiest film to shoot. Sadly, it shows.

Elba is genuinely great as the tormented Roland, but the film does its best to suffocate him under a mountain of plot-heavy nonsense. Disappointing.

Not even a decent performance from Richard Attenborough can save this disappointing production.

"Save your last breath...to scream" reads the tagline - we advise you save it for the inevitable sigh as the credits roll on this monstrous B-Movie farce.

Doesn’t deliver a sliver of the fun and thrall the ride serves up in a fraction of the time.

You should feel sorry for the memory of Julia - whose swansong this is - but actually it's Van Damme who commands sympathy.

Belying its title, this is a pretty flaccid offering which fails to gel the comedy stylings of Hart and Ferrell.

Although the film has a ridiculous premise that's no reason for it not to work, sadly the direction it is taken in, it's poor acting, character development and shoddy action sequences are though. Allen stands out as a spunky heroine but she's the best thing in it.

Relentlessly ugly, preposterous and hackneyed of dialogue: guilty on all counts. It will do well, then.

If you’re going to take a hugely familiar premise and rely on easy star chemistry to sell it, you really need the right stars in the right roles and a killer script for all the killing. Sadly this ain’t quite it.

If ever there was a movie equivalent to the one-night stand this is it - not necessarily something you'll remember next day but fast, furious and damn good fun while it lasts.

Utter, unforgivable bilge.

Cox evidently harbours a profound love for his homeland, and it’s nice to see Alan Cumming and Shirley Henderson speaking in their native Scottish accents for a change. But while it may inspire you to book a Highland holiday, there’s little else to take away from such a soppy passion project.

Unlucky for almost everyone. It's a sad day when a Friday the 13th remake is shown up by a My Bloody Valentine remake – couldn't they at least have sprung for 3-D?

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

Spencer and McCarthy are the superheroes we deserve, but are capable of so much more than bowel-movement jokes in this tepid and formulaic buddy romp.

A nasty little chiller from the Saw director with the evergreen De Mornay on top form.

Unless you pine for second-tier Mel Brooks, you'll find more laughs in the Old Testament itself.