Nothing more than a romp in Rio, which is fair enough if that's how your get your kicks.

The franchise squeaks past with a so-so sequel that barely improves on what came before. Our only hope is that at some point they'll have to hibernate.

The wee'uns may enjoy the forest-based capers but for adults this is no pickernick.

Should be judged in context but even then it's a bit high on the melodrama and low on subtlety.

A gentle and prettily appointed romantic tragedy with likeable performances; but there’s a stultifying blandness to proceedings and an implausible final act.

A preposterous, steroidal mess.

This is about as noir as Pete’s Dragon, best to accept its superficiality as a boon - Hackford, at least, gives it a slick exterior - and enjoy it is a vacuous thriller and extended Phil Collins video.

Middle-aged scouse housewives and Willy Russell is a bread and butter combination: no frills, a tad repetitive, but plenty of substance nonetheless.

A talented cast keep some low-key action and tired gags from derailing this disappointing farce.

Almost a guilty pleasure. But not quite.

A bold but ultimately doomed effort that will irritate all but cultists of the bizarre and the most rabid fans of Mr. Cage.

Williams' virtuoso hijinking and Daniels' Huggy Bearish bonhomie save this from complete ignominy, but we’ve seen it all before.

While the kids may sing a storm when at last they get down to mixing Beethoven, gospel and rap, in the good clean fun department this is monumentally weak and derivative.

The jokes start wearing thin, and most of the noisy characters become rather tedious well before the rag-bag of thesps finally pitch up on Broadway.

Lambert fails to convince as the action star and somehow it is left to a computer to steal the show.

Timeline takes the most ridiculous movie plot ever imagined and multiplies it by ten.

It’s uncomfortably the work of someone who thinks mass murder is cool and has no feeling for regular humans.

Nicole Kidman has perfected the art of the wronged housewife, but that’s not enough to elevate the shallow nightmare of Holland. This derivative thriller is in need of some Dutch courage.

Ultimately, this has the feel of a lazy literary adaptation of a half-remembered novel.

Oz's movie is well intentioned if a touch too heavy on the PC side of things, but ultimately proves just too uninspired.

In some quarters this will doubtless be hailed as "gritty" and "realistic". Movies about junkies just aren't much fun, however, and to be really powerful or tragic they need to be a lot less hack­neyed and directed with more inspira­tion than this.

Fans of Maggie Gyllenhaal will be disappointed; fans of Mary Shelley will be disappointed; fans of unhinged cinema will be morbidly intrigued.

Win A Date With Tad Hamilton is a valiant attempt to create a love triangle, but ends up getting all its sums wrong.

Pelham One was first class. Pelham Two stuck to the schedule. Pelham Three needs a bus pass.

This is simple, lazy storytelling rendered merely functional by appealing leads and the eternal lure of romantic fantasy.

Thin and predictable, and a flop of awesome proportions in the US, this has occasional bursts of freshness, but mostly leaves you with the nagging impression that Mathis ended up with the wrong guy.

A nice idea, and the setting makes it instantly more interesting to a UK audience, but it’s let down by lapses into cliché and by simply not being audacious enough with its action set-pieces.

A famously disastrous follow-up to William Friedkin’s horror hit.