Like mum's home-made comfort food, it's warming but not really that good for you.

If you thought the first Trolls movie was fine, you’ll probably find this fine too. It completely lives up to the watchable mediocrity of its predecessor.

High hopes of magic from the Gondry-Rogen pairing are dashed. Some neat touches aside, this isn't so much eternal sunshine, more superbad.

There are effective moments, a dime clutching tot watching an ice cream van plough gently into a garden wall after its driver has a heart attack, gives a stylish laugh, but at the end of the day perhaps a trip to the bar will be more fun.

Staggeringly laboured though this premise may be, it also has the potential for some lightweight farce to pass the time.

A scabrous, somewhat wayward anti-80's rant that, whilst providing Grant with a few moments of high farce, lacks the wit and social surety of Withnail & I.

Most unforgivably, the period detail is all over the place and the punk/disco soundtrack a real hotch potch, leaving this a story with no real sense of time or place.

If you want to see Paul Giamatti as a snail - and who doesn't - you've come to the right place. If you don't, wait for Cloudy 2.

Romero does his best to streamline the flabby storyline and gets some extraordinarily subtle performances from a great cast, but King's malformed original keeps hobbling the film.

Intermittently funny but erratically structured, it's a rare disappointment from Shelton.

The Front Room features a remarkably funny performance from Kathryn Hunter as a mischievous mother-in-law, but its tale of lurking danger remains malformed.

Purposeless waste of director Walter Hill's energies.

For a long stretch of the second act the film feels like doing a long stretch, but Schwarzenegger’s having a ball as Stallone goes through the motions.

Director Dennis Hopper continues the fumbling manner of "Colors" and the forthcoming-but-disowned "Catchfire," drawing out what ought to be a 72 minute B-picture into two hours and ten minutes of sweaty silliness with three pretty stars who can't quite bring themselves to be camp enough for the material.

Gorgeous to look at — but this is simply not looney enough to stand alongside the Looney Tunes greats of old. Needs more anvils.

There should be something fun in watching Academy Award winner Octavia Spencer drop C-bombs and go apeshit. Instead, Ma is an ersatz, misjudged exercise in psycho-horror that lacks the courage of its B movie convictions.

Cinderella is given more independence, but at what cost? An irritating script ruins the sincere magic of the beloved story – strong music isn’t fabulous enough to preserve the DNA of a classic.

If not a train-wreck, this is certainly more than a fender-bender. In a world overflowing with targets for a satirical pasting, we needed something a lot sharper than this.

Not quite a complete write-off, but basically a folly.

Some likeable performances — and solid Irish accents — can’t save a dreary parade of clichés. Pray that the Lord forgives these cinematic sins.

Incoherent and inconsistent, this is a step back for Statham in his quest to become more than a cult figure.

Fans of the Ramona Quimby books will be disappointed, but tween girls will love it.

Being over-stuffed and heavy-handed are not even Crossing Over’s biggest problems. That dubious honour goes to an absolute failure to address its nominal subject-matter in any meaningful way.

The novelty factor stops and starts at the 3-D specs: this is a horror movie on tracks, not going anyplace new. Still, there’s some inventive grue-splashing as always.

If you're looking for a film to put you off marriage, children, affairs, and indeed life itself, look no further than this melancholic ensemble piece about listless adulterous couples in small-town New England.

"Save your last breath...to scream" reads the tagline - we advise you save it for the inevitable sigh as the credits roll on this monstrous B-Movie farce.

This year's Dodgeball? Not a chance. Ferrell admirably tackles the so-so material, but it soon defeats him.

Occasionally charming but mostly bland fare from Weitz, despite the reliable cast. About A Boy remains the best showcase of his talents.