Regarding Henry is ultimately just about bearable thanks to Ford's sheer presence and the occasional reminder, the first 20 minutes in particular, of what might and should have been.

An exposition-heavy opening gives way to a modestly effective Australian mash-up of sci-fi/horror hybrids.

Competent, but so utterly bereft of any memorable moments that it becomes a bit of a bore. Perhaps it's time for a reboot – guy wrapped in bandages, shuffling around a pyramid, scaring people. You never know, it might just work.

Nicholas Hoult does his best to bring Niven's weapons-grade scumbag to life, in a film hobbled by amateurish acting and absence of production value.

The message is just as clear with Simpsonian antics -- if it ain't broke, don't make a movie…

The most worrying thing about She's All That is its message. The "ugly duckling" (specs, dungarees, art-lover) must conform (she gets a makeover and the boys notice her "bobos" for the first time) to fit in.

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

A bang-on soundtrack will make the hairs on ex-ravers' necks stand up. The plot will have the opposite effect.

Godzilla Vs. Kong mostly delivers on its promise of a big monster fighting another big monster. It just depends whether you’re willing to sit through the toe-curlingly bad set-up that surrounds it.

French Exit boasts an assured cast but drab direction and lazy writing ensure the characters are never as eccentric, cutting or interesting as the film’s tinkling score would have you believe.

By stifling Hart’s seasoned comedy-fuelled charisma, this overly stylised crime caper is a turbulent ride. Stay for Mbatha-Raw’s righteous action skills, which should propel her to bigger and bolder things.

A handsome epistolary affair gives way to a more formulaic matchmaking story, in an alluring romance that loses its shine. Maybe some things are better left in the past.

Despite the formidable talents of Timothy Spall and Vanessa Redgrave, Mrs Lowry & Son doesn’t really get under the skin of the artist or the man, resulting in a film as dreary as Pendlebury’s colourless skies.

Too long, arduous, lecturey and patience-testing for even the all-new Matthew McConaughey to rescue. Director Ross is apparently so swamped by a sense of historical righteousness he hasn’t noticed he’s smothered a decent story.

A tense and nasty thriller, Mile 22 is a frustrating experience that makes you wonder if Peter Berg should stick to depicting real-life tragedies instead.

It’s relentless and exhausting for adults, but kids and die-hard SpongeBob fans may find something to love here as the consistently cheery fry cook once again out-dimwits a dastardly foe.

Escape Room is like The Crystal Maze with more death. It’s fun at the start then loses its way, but it’ll do until ‘Flossing: The Movie’ comes along.

Boasting a powerhouse cast, The Last Full Measure has the best of intentions, to celebrate servicemen without condoning war, but winds up with little else.

Dull.

Inferior teen drugs-drama, lacking depth and a point.

A largely dour romantic drama, hampered by thrusting non-actors into challenging lead roles.

Midnight is a mildly engaging hotchpotch of disparate ideas - courtroom drama, small town expos and witchcraft-infected magicking - but a far cry from Eastwood's best.

But O'Keeffe, as Tarzan, has the best part: he never says a word, unless you count 'Aaa-awaa-awaa'. His visual presence is striking enough: Bjorn Borg's head bolted on to Arnold Schwarzenegger's body.

Here both Greenaway's strengths and weaknesses are on show as he toys with the viewers' capacity to ingest blurring metaphors and convoluted content.

A totally unneeded sequel which does nothing whatsoever for the legacy of the original tale.

By the time the deathwish duo embark into mountainous terrain, you'll want to hand them a copy of Thelma & Louise's road map —with clearly marked directions to the cliff.

Sometimes this kind of comedy just goes too far into rubbishness to make it back.

Dump thriller which trivialises the subject matter.