The set-up is not as elegant as that of the first film, so this feels more forced and the humour more familiar. Still, the performances are winning and the setting appropriately seasonal, so it might do for the holidays.

Can everyone stop making moody origin stories now, please? While not a disaster, this isn’t the claws-out, rampaging adventure we hoped for. No-one cares where Wolverine found his jacket — a spin-off with him kicking ass in Japan would have been way more fun.

The lines between artist and muse are too clean cut to capture the visceral and intimate emotion of two lovers. Broomfield’s approach feels more intrusive than reflective, reducing the private story to public gossip.

Everyone’s trying hard, but they can’t quite live up to the particularly gentle, warm tone of Pooh himself. Unlike the bear of very little brain, this is a film pulled in different directions with entirely too many thoughts in its head.

This thriller can't decide if it's a childrens thriller meant for adults or an adult thriller meant for kids, but ends up entertaining no-one.

What promised so much, delivers so little thanks to a script that too often veers from the point. A missed opportunity.

It's now become Hollywood gospel that if a high concept film is reasonably successful, then make a sequel and if that raises any interest at all, then, hey why not try one more. It's a shame that here the studios just don't know when to stop with this episode ruining the name of what was once an enjoyable franchise.

A big, lumbering bastard of an action movie sequel. It achieves more-or-less exactly what it promises — which, given this franchise’s track record, is a low bar to clear.

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.

Star Wars it wasn't and still isn't...camp 70's space stuff but the TV series spin-off is a fond memory for 30-somethings throughout the Western World.

Despite an impressive bag of special effects tricks, old Fred is starting to resemble one of those dead horses that studio execs insist on flogging.

At a time when teen outsiders are having their time in the spotlight, Stargirl feels like a relic, and a prompt for Disney to do a better job at capturing contemporary high-school culture.

A starry trio and suspenseful filmmaking can’t save this apocalyptic thriller from collapsing on itself.

A spectacular misfire from a director who should have known better.

Despite some smart, brittle dialogue and the classy cast, this seldom rises above the routine and is basically a bittired and terribly 60's.

Good idea to cast the brat pack in a Western but this was badly realised and altogether a bit flat.

If there were a special Academy Award for Contrived Premise, this picture would be a hot favourite to scoop the statuette.

Despite the odd strong moment, this Bloodshot is anaemic.

Deeply misconceived and steadily unfunny, this feels longer than its running time. A few moments of emotional honesty between mothers are the only bits worth watching, but they're too scant to save this mess.

The stiffness in the writing and general lack of subtlety leave this feeling underwhelming and overwrought. As a moral fable, The Forgiven offers little genuine critique.

Another "Hangover" was too much to hope for, especially as this was scripted by committee. It's a bit funny but also quite a bit nasty.

Not quite as dreadful as Resident Evil: Apocalypse, but that's hardly a major achievement.

The early franchise frights are missing. There's some ironic light-heartedness in the nuptial set, the religious overtones are distractingly self-conscious.

A grumpy Ben Affleck can’t save this confused thriller that has as many twists as a trepanning drill, and is about as likely to leave you feeling lobotomised.

A couple of good jumps but this Conjuring spin-off is led down by poor writing, anodyne leads and and overwhelming sense of familiarity

It's no "Battlefield Earth," but it's no "Dune" either. And, no, before you ask, it's not destined to be a cult classic.

A low-grade comedy that'll have Jonathan Swift turning in his grave.

It’s well-intentioned and pretty, but not much else. Occasional stylistic flourish aside, it offers nothing we haven’t seen before, buckling under the weight of its own conservatism.