Ambitious but very tedious and talkatively hackneyed, redeemed just a smidge by the money shots of a swarm of extras on horseback sweeping across the sands.

There were a few sci-fi movies in the 70s that managed to transcend the genre and become fairly well known in the mainstream. This weren't one of 'em and for good reason.

A stunner of unrelenting tension interrupted by action, violence and gore.

The ambition is laudible, but it's to little end. At once empty and impenetrable, this brings to mind a mix of John Carter and Dungeons And Dragons, regrettably in both themes and level of enjoyment.

Destined to be an instant guilty pleasure, Cats is an insane musical experiment gone wrong. It is truly like nothing cinema has ever seen. The question is, is it something cinema actually wanted?

Sloppily structured, indifferently played and unbearably smug.

Humdrum adaptation that should, given the ripe nature of its source material, have been much better.

Only a thrilling throwback synth score from John Carpenter keeps this inferior, modernised take on Firestarter off the lower end of a list of Stephen King adaptations.

Like Guy Ritchie’s King Arthur, this tries hard to do something new and exciting with an old formula. It quickly makes you wish for something more traditional and straightforward.

Casting aside the forgettable ragbag of a cast, tiptoeing round the leaden script, and avoiding the story's many pot-holes (how come he only breathes fire twice?), Godzilla does provide plenty to look at. But that, for fear of sounding ungrateful, is all.

Tom & Jerry: The Movie joins Garfield , Yogi Bear and The Smurfs as misfiring attempts to combine popular ’toons with live action. Our kids deserve better. They deserve Tom & Jerry 1940-’58.

It takes courage and ingenuity to find the modern romcom formula within the operas of Gluck, sung well through SMS by Heughan and Chopra Jonas. It also stars Celine Dion.

This uneven but well-researched film takes a much more sober and realistic view than the Rambo-esque capers, of the hardships endured by shot-down Americans in conditions that were anything but Hilton-like.

A little reticent in gore gimmicks for the Final Destination crowd, but considered as a middle school between Goosebumps and Clive Barker, it’s just the haunted lottery ticket.

A competent suspenser, helped by the always-dependable Diane Lane, but it suffers by following the modern thriller playbook to the letter.

Lacking anything approaching originality, The Hitman’s Wife’s Bodyguard is a generic, by-the-numbers action-comedy sequel. Praise be for Hayek, who at least gives it gusto.

An opportunity to exploit childhood nocturnal fears is missed in a second-rate horror.

This modern musical - with tunes written by Where Are They Now pop band ELO - falls flat on its face simply because the premise is so utterly ludicrous.

Ridiculous premise and hilarious acting which is mostly famous for the Lolita-type Brooke Shields cavorting in tropical settings.

This tired, neutered action thriller won't cause you max pain, but you might wince every now and again.

A caper thriller that's sufficiently zippy to hold the attention. LaBeouf's current notoriety adds extra piquancy to those urban fight scenes.

Take out the BDSM, and Fifty Shades Freed would play perfectly as afternoon thriller on Channel 5. An end to a damp squib of a trilogy which sees Johnson as the only one to emerge unscathed.

Despite some cool action sequences and interesting aliens, the first Rebel Moon instalment is a disjointed ride through an under-realised universe.

Despite the presence of four credited screenwriters, the plot is a rehash of cliches and tired jokes.

A step in the right direction for console-to-screen transitions and a twisted masterpiece of set design. Ultimately, though, it's a little too much like watching someone else play the game.

A big old pile of Smurf.

There is some fun to be had if you're in an undemanding frame of mind.

Heroes in a half-arsed shell.