Like, so lame.

It’s just a waste. The premise is ripe for absurdity and the talented supporting cast have interesting quirks that might have livened things up if Shepard ever gave them the chance. Instead, aside from a few surprisingly gory moments, this makes the original show look good.

What saves the movie is its relaxed sense of self-awareness. Reynolds all but winks at the audience with his collection of Dick Dastardly sneaks and dodges, but holds onto that winning, hangdog warmth that got him to the top of the pile in the seventies.

Despite an intriguing premise, Winchester misses the mark. Its anti-gun message is a shot in the right direction, but lazy fright tactics and a contradictory ending leave it firing blanks.

Ben Barnes as a Colombian? Really?

At once explaining too much and not enough, this middle segment of the trilogy fails to amp up the stranger danger. Perhaps the scariest thing is the end title: To be continued…

Shrek this ain't. A lacklustre effort hampered by limp dialogue and lazy plotting.

About as funny as contracting cancer.

Featuring strong work from LaBeouf, Man Down is a fascinating example of how a powerful performance and good intentions can be derailed by a misguided concept and flawed execution.

Does to the medieval era what Cage's Wicker Man did to Anthony Shaffer. Hokum and not in a good way.

It's not as risqué as it wishes it were, nor as likable as it should be. Butler's rarely been better-cast, but the material's too patchy to support him .

Cute and friendly enough, but for anyone over eight, not recommended.

A spectacular misfire from a director who should have known better.

Who Framed Roger Rabbit meets Meets The Feebles, in a disappointing adult comedy that never lives up to the promise of its premise.

While this may not quite be a stake through the heart, Wes Craven's curious mix of the comic and the horrific is another nail in Eddie Murphy's career coffin.

Starts strong, finishes dull. The original Flatliners should have had a ‘Do Not Resuscitate’ order attached to it.

A toothless, tedious farce which deserves to sink without a trace.

This feels bigger and more cinematic than the first film, and sees a progression in the lives of the characters. But many of the jokes are beyond broad, and the Middle Eastern stereotypes are shockingly cack-handed.

Neither good nor bad. Scales dizzying new heights of okay. Aims for mediocrity... and nails it.

If "Spider-Man 2" is this summer's main comic-book-movie course, Catwoman is clearly the leftovers.

Sounds great, with this cast of men of a certain age on big scary two wheeled monsters. Unfortunately it only pulls it off in places.

Bay’s genuine determination to give you a good time still doesn’t result in fun. Overlong, overstuffed and soulless, for fans who grew up with Optimus and Co, The Last Knight will sting like a bee.

Poor script, poor direction and poor performances mean a dismal 70's disaster movie is the result.

Loud, noisy, flashy but too rarely chilling.

It's loud, it's stupid, yet against all the odds, enjoyable.

Precious Cargo is a film out of time. In the ’90s it would have been a serviceable DTV alternative when the Van Damme/Jeff Wincott flick was out at Blockbuster. These days it is a lacklustre anachronism. Bruce Willis should really know better.

Stereotype-based comedy from Eddie Murphy in a variety of fat suits is just not enough to make a decent film.

No award winner, but at least it delivers the rubbishy goods.