Themes of self-acceptance and inner strength seem a little out of place in a movie featuring a hound farting at phantasms.

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

It has aspirations to be RoboCop but this feels more like autopilot. Pratt is committed and the plotting is sometimes effective, but Rebecca Ferguson’s non-Dredd-ful judge is the only good reason to watch it.

Wasikowska gives it her all, and Cohen shines, but while this is a better film than the first, that was a low bar to reach.

The one saving grace is Lloyd, who gives a terrific and lively portrayal despite some horribly sentimental lines. He is the movie's guiding star, a lone bright light in a string of dud bulbs. Otherwise, beware.

Not a total catastrophe, but perilously close to being one. Is it too obvious to say Imaginary is simply lacking in imagination?

A straightforward camping-holiday nightmare, or a sly, ironic take on the same. It works deliciously as both.

Utterly mindless, but on its own snap, bang, and wallop terms, it works well enough.

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.

Decent ingredients but, as a whole, this is lacking in choreographic flair and plot substance.

An ordinary, forgettable horror film. Even the Devil deserves more than this.

A dour, plodding experience that's cold in every sense.

The Keep wears its crap bits proudly on it's sleeve, its qualities are more hidden and emerge only once you've watched it, dismissed it and then found that it's atmosphere refuses to disperse.

Greater drama and prehistorical weight are to found in the earlier Quest For Fire or the BBC's Walking With Cavemen, and without so much as a trailer for extras, this feels like a relic.

However, it is probably the screenplay that is most at fault, and while "Demolition Man" director Brambilla again makes things look okay, his hands are tied with flat dialogue, zero comedy and not much caper, either.

Bottom-rung dreck.

The mammoths aren’t all that is wild and woolly in this innocent, old-fashioned, amusingly self-important, entertainingly mad, rip-snorting throwback to vintage Saturday matinee fare, with all the swell set piece thrills state-of-the-art technology can throw at it.

It’s fun to take another turn with Derek and Hansel, but they probably don’t have another season in them.

"Salmon Fishing In The Yemen" and "Chocolat" man Hallström is an old pro at navigating this kind of undemandingly dramatic yarn and does a pretty fine job with Sparks' story.

Unfortunately, half the time this feels more like an Omen parody than a chance to give it a great send off.

Even by the standards of animation, the logic fails here are impressive. But the bigger problem is the lack of charm, focus and original storytelling as the animals suddenly have to save the world instead of just surviving it.

A joyless and pointless remake. The new take on Bodhi and co. squanders a potentially enjoyable premise and rarely delivers, except on the occasional stunt.

As an unashamed B-movie, The Crush does what it says on the tin and entertains for an hour and a half. Except you feel kind of cheated by the supposed climax, with the build up proving more disturbing. Silverstone is convincingly equal parts Lolita and Norman Bates.

Enormous plot holes and a script that’s fatally light on character mean there’s few selling points beyond Jennifer Garner's corset...

An odd but frothily entertaining genre cocktail, which coasts on the charisma of its two biggest names and keeps things just fun enough to forgive its considerable lapses in narrative.

It could have been a tantalising coming-together of two icons of action cinema. Instead, The Iron Mask feels oddly anemic.

Die-hard fans may get a kick out of seeing the monstrosities of Silent Hill on the big screen. But this return trip to gaming’s most terrifying town won’t leave you scared — just bored.

Less a reboot, more a hit-and-miss cover-version. The cast are game, Applegate especially, but the laughs flatten like a deflated tyre.