This attempts to unite period drama and demonic possession, but feels tired and overworked on both counts.

Despite magic moments, this is so lop-sided in conception it's really only worth seeking out as a folly.

David Corenswet takes on the blue-and-red mantle admirably, and glimpses of Gunn’s signature sense of fun shine through — but a lack of humanity, originality and cohesion means the movie around them just doesn’t work.

A note to Fonda: even thin, fabulous 67-year-olds shouldn't wear strapless gowns. It's scary.

It’s third time unlucky for a series that still hasn’t worked out what it wants to be. The Last Dance can’t find its rhythm.

There is the odd funny moment, but The Art Of Racing In The Rain relies too heavily on the charms of its golden retriever. It might be built on the notion that dogs are the wisest of us all, but the end result winds up stupid.

Serenity is a genuine headscratcher, baffling on almost every level. Badly scripted, strangely acted and poorly pitched, there is so much to pick over it’s hard to know where to begin. Sometimes the best of bold intentions are just not enough.

A forced, over-ripe satire on the hunger for social media, bolstered by an engaging performance by Joe Keery. But if you really want to feel the real-life impact of the ’Gram on a young psyche, stick with Eighth Grade.

This is sadly unsuccessful as both an eat-the-rich satire and a schlocky B-movie. Not even Paul Rudd and Jenna Ortega can rescue Death Of A Unicorn from expiring on arrival.

Maybe it’s fitting Playmobil: The Movie is old-fashioned, stiff and only suitable for those between the ages of four and ten, but it sure isn’t much fun.

A tragic waste of acting talent, with nothing new to say. Can we please now politely close the door on middle-class repression before we get really angry?

While it's all very pleasant watching these undecided pubescents frolic in the lake in their undies, there's a distinct lack of real drama or purpose in the self-indulgent, humourless proceedings.

As an outing to complement study of the book the film is worthy enough but curiously less than the sum of its parts.

Not a complete disaster, but also not the vampire / werewolf mash we've always wanted.

Nothing aligns, nothing builds, and before you know it we’re hip-deep in the big showdown -- a free-wheeling frenzy of choreographed combat that neglects to find much space for the cast.

Despite strong lead performances and some intriguing themes, this rarely rises above being a serviceable action thriller.

A thin soup of weak jokes and contrived drama.

One comes out of this fragmentary documentary about the King Of Cool’s passion for motor racing liking him much less than one did going in.

Fans of Moon and Source Code be warned: Mute is sadly, almost tragically, not worth the wait.

Relentlessly ugly, preposterous and hackneyed of dialogue: guilty on all counts. It will do well, then.

Possibly not the worst animated feature the House Of Mouse has produced, but certainly stumbling around the darker recesses of the Disney vault.

A likeable cast and colourful depiction of Pakistani (and Pakistani-British) culture makes this look warm and inviting, but the central romance can’t hold our attention as it should.

The major fault in Exorcist III is the house-of-cards plot that is constantly collapsing.

Perhaps not an entirely a faithful portrayal of the era or the great man, but interesting in parts.

There is a great deal of action in Renegades, yet it still manages to be a faintly boring film.

Despite a fun voice cast, this is a lazy effort that squanders its characters, and will likely bore anyone over the age of ten.

It's watchable enough in a nothing-better-to-do sort of way, but comparison with a contemporary movie, say, Uncle Buck, shows just how thin it really is.

There is some nice insight into cycling-team practices, but overall The Racer lacks sufficient nuance, specificity and originality to nab the yellow jersey.