Kings' fragmented treatment fails in delivering a compelling story. It also lacks the depth and clarity needed to convey a solid message, which one can assume was the purpose given the liberal use of certain politically charged images and sound bites. The potential was there for something grand though.

With Private Resort, I guarantee you'll be laughing well after it ends - and if you do it right, your chuckles will probably have precious little to do with the film itself.

There are moments where it reaches out for horror and produces something interesting and distinct from Hollywood’s other blockbusters, but those moments are buried beneath unremarkable and, by the end, tedious action sequences.

The Iron Mask is a mess of cultural ideas that not even Jackie Chan or Arnold Schwarzenegger can make work.

Return to Silent Hill isn’t the worst entry in this video game movie series, but it fails to accomplish anything that the source material doesn’t do better.

But as a comedy, Love Hurts is pretty stale; when not trotting out dopey crime-flick caricatures, it’s simply leaning on the supposed hilarity of a sunny house hunter with a secret talent for breaking bones. You’ve seen many versions of this premise, and better ones, too.

This big-screen take on the indie-horror sensation has too much plot and not enough of the game's primal security-cam thrills.

No, it's not the final movie in the series, but it's the end of a particular era for Jason, and it's a good way to go out for the hockey masked killer.

The movie is frantic in fits and starts, but still remarkably tedious for such a slapstick comedy. It expends an astounding amount of time and energy setting up both its jokes and physical comedy routines, many of which are tired, watered-down iterations of material done better by Sellers.

Ranbir Kapoor is deeply committed to his brash and ugly protagonist, but in spite of the movie’s explosive action, director Sandeep Reddy Vanga seems more preoccupied with provoking outrage than with telling a coherent story.

Taylor Schilling does her best here to keep things alive and afloat but The Titan insists on languishing in unremarkable material way too long.

Perhaps a slightly more engaging, focused narrative would have saved the film. As it stands, we're treated to 82 minutes of confused storytelling that spends the entire first half torturing our two principal leads in the most bizarre ways imaginable. Perhaps Corman fans should skip the first half of the film and simply watch the actual "Deathsport" sequences instead. The film will likely play much better as a 40-minute short.

Part modern mob movie, part period biopic, the star-studded In the Hand of Dante has big ideas that completely fail to cohere.

There’s no snap to the dialogue, no thrill to a majority of the action, and the other characters played by Cooper Hoffman and Lucy Liu (and their relationships to Dolinski) make no lasting impression.

Everything about this "movie" is a joke. What really pisses us off is the fact that: a) Ben is now white (yes, white!); b) there are people doing drugs; and c) there's a sex scene! What in the hell? Not making things any better is a simply ridiculous ending that just about abandons all hope for the movie's success.

Cannibal Women In The Avocado Jungle Of Death would be one of those B-movies that has a message to get across, and it does so with a few actors and a script that's surprisingly well thought out, if to a cornball degree.

Cats’ special effects render director Tom Hooper’s star-studded adaptation of the Broadway classic a lifeless disaster, though a few of its more charismatic cast members, namely Judi Dench and Idris Elba, manage to get a few licks in to add an alluring, ironic camp value.

Despite solid performances from Zac Efron and Ryan Kiera Armstrong, Firestarter feels stifled in story and presentation.

Kate Siegel does her best to elevate a simplistic thriller that follows all the same beats you're accustomed to.

It’s a straightforward retelling with a confusing design philosophy, disappointing action sequences, weak storytelling and a cast which clearly deserved better material.

Tom and Jerry hit the big screen for a hybrid live-action romp that too often feels like it's not even their movie.

Game Over, Man! is a sloppy production, with screaming and bullying used as a placeholder for actual jokes. The characters are such enormous jerks that they probably don’t deserve to succeed, at anything, so it’s hard to want to follow their adventures through an entire film.

Wish Upon is the successor to the Final Destination franchise that no one asked for.

There's not much to praise here. The script is beyond parody, the jokes fall flat, and it arguably wastes some of Hollywood's biggest names. But if you want to see lots of people getting blown up in some very pretty locations while Salma Hayek and Samuel L Jackson make sweet (gross) love while torturing Ryan Reynolds, then this one's for you.

Only Kaya Scodelario rises above the mess, working hard to try and craft an earnest and accomplished heroine that is by far too interesting for the rest of the boring dolts in the story.

Fifty Shades Freed concludes the trilogy as it began, with a romance you can’t believe in, endless montages of affluence, lousy dialogue, weak plotting, and - admittedly - a heck of a lot of sex.

Despite a great ensemble cast, Zack Snyder's space opera is let down by a derivative patchwork script, mediocre action sequences and a superficial story that fails to live up to its expansive promise.

Maybe if it looked like Edwards cared about the movie it might have been something more. Even so, without Clouseau, what The Curse of the Pink Panther brings us is staged prop humor, and a number of indignities courtesy of the make-up and wardrobe departments.