It's a great set-up but sadly the plot unfolds slowly and with little action, playing like a short story.

Crossbreeding superhero tropes with horror staples was an idea laden with promise. Brightburn is enlivened by trademark James Gunn black comedy, but hamstrung by sketchy writing and a botched sense of dread.

A wasted effort with a limp storyline that fails to do Michael Crichton's book justice.

Despite DiCaprio’s prize performance, purists will fume, but even as lit-crashing razzle-dazzle entertainment Luhrmann’s adaptation is a candelabrum too far.

It's not nearly exciting enough and at an hour and twenty minutes is overlong for animation fans, yet by virtue of the fact it's a cartoon, it presents itself as too childish for older live action devotees.

An otherwise mundane rom-com that doesn’t know how to handle its one point-of-difference; and even that isn’t as much of a big deal as its writers think it is.

Well-acted by the superb ensemble cast but there just isn't a likeable character amongst them to care about.

Though well directed, Thewlis and Di Caprio simply do not gel (John Malkovich and River Phoenix were the original cast choices), the latter is too hyperactive in delivery, the former too static in expression.

In flashback, we see the pair's friendship develop through their childhood, but despite the film's heavily symbolic tone, little is revealed about either of the characters or indeed the Vietnam War.

A hyperactive hot-pink mess of a movie, which fails to elevate its cubic source material and revels in that failure like it’s achieving something.

A creaky script which avoids tackling the morality of Castle's actions, while Hensleigh doesn't do himself any favours by slowing the film's momentum with leaden editing.

An uncomfortable, if intriguing, mess.

Depardieu is his usual charismatic self but the script fails to translate well with the generic traits suddenly appearing so much obvious in English.

Director Alan Pakula's sympathies seem to lie in the landscape, never less than exquisitely framed. But even this mute star can't fill the space left by dour performances.

Disappoints due to poor structure, flimsy characterisation and insufficient wit.

An instantly forgettable, paint-by-numbers romcom, despite the obvious charm of Witherspoon and Kutcher — worthy of watching neither at your place nor mine.

A botched Guardians wannabe that isn’t half as fun as you’d hope from the punky sci-fi promise of its video-game source material and the presence of Blanchett at the top of the cast list.

A case of a missed opportunity. It references all the right films, but The Snowman comes off as a pale imitation.

The plot unravels in unwieldy dollops, and, despite some adequate special effects (for the time), the whole thing is really a bit of a bore.

If you like Gervais' usual schtick, you might be prepared to overlook the hackneyed plot for the jokes and strong cast.

Despite one or two nice moments and the naturalistic tone, it's all a bit of a slog.

Well below anything else Eddie did before it. Needs a tighter script and a more confident performance.

It's not hard to figure it out, but Caruso manages to throw in some tense moments that almost -- but sadly not quite -- make up for the film's daft ending.

Despite good performances and an interesting milieu, The Wedding Guest doesn’t deliver as an exciting genre piece or thought-provoking drama. Michael Winterbottom is a master in many areas but the thriller seems beyond him this time.

Considering the danger, spectacular setting and sheer derring-do of its subject matter, this is pretty leaden stuff. Disappointing.

The idea is so great that it's a crying shame that the end product is such a sheep in wolf's clothing.

Though the central performance is impressively raw Farming’s uncompromising bleakness drowns out the fascinating story, making it a far tougher watch than it needs to be.

This energetically charmless 'family' fantasy lies there dead on screen, occasionally twitching at a funny line.