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.

A movie that’ll just about keep young viewers’ attention, Smurfs is part Rihanna jukebox musical, and part flimsy attempt to give the little blue critters an identity that’ll stick.

The Garfield Movie applies some nice animation to an annoying all-ages comedy of product placement, phone jokes, and daddy issues.

Death Wish takes the serious topic of vigilante violence and reduces it to melodramatic hero worship, and it’s not even particularly good at that. The action is forgettable and the plot barely holds together.

Pet Sematary: Bloodlines tastes a bit better than a nothingburger, but lacks seasoning that you’d hope for from something tied to Stephen King’s bibliography.

Hellboy is a thin, clumsy, and charmless attempt at rebooting a beloved franchise. It's populated by forgettable characters motivated by confusing stakes, cheaply executed visuals, and distracting editing. Somewhere, a finger on a Hellboy fan's monkey's paw is curling up -- sure, HB might finally be back in the spotlight, but he definitely would have been better off left alone.

A great cast including Henry Cavill and Ben Kingsley is wasted in the predictable serial killer thriller Night Hunter.

The Starling contains themes of grief and guilt that are worth exploration, but finds itself unable to delve deep into these elements, instead relying on bad bird effects and a needlessly quirky and eccentric tone to gloss over most of the uncomfortable elements.

Simon Pegg and Lily Collins act the hell out of a script with a fun set-up and a lazy payoff.

The problem is – the film plays more like a brainstorm exercise than a feature length film. There are gobs of great ideas here, but none of them connect in the way fans likely wanted.

It’s a sincere, and sincerely inept motion picture, and that combination makes Friend Request the exact opposite of scary. It makes it unintentionally hilarious.

Disney's Artemis Fowl is an empty science fantasy tale with forgettable characters and an uninspired story.

It takes extremely familiar plot points and plays them straight, adding nothing new except the premise - a white American joining the Yakuza - which ultimately has very little to do with how the story unfolds. The film might be a functional crime drama but it’s an incredibly unremarkable one.

Expend4bles is a crushing disappointment that lacks any of the nostalgia, charisma, and charm that made the franchise appealing in the first place. Perhaps worst of all, this failed mission is boring. There is no pleasure taken in saying this once highly entertaining action franchise is well past its AARPrime. It would have been great to have rounded the series off with a fifth entry, but after this flat and uninspired effort, the franchise doesn’t deserve that last hoorah.

AI-loving Marvel hitmakers Joe and Anthony Russo join forces again with Netflix to deliver a $300-million sci-fi epic you can safely half-watch while doing the dishes or making dinner.

The House isn’t quite another Will Ferrell classic but it’s a solid comedy offering that’s well put together and very funny. It’s as smart as it is stupid, it’s very entertaining, it delivers on what you’d expect it to and holds a few neat surprises.

A lesser installment in the series.

If the story behind this chilling internet creation could have matched the quality of those aforementioned strong points, Sony would have a real horror gem on their hands.

Some of it is a bit too goofy – I could do without the overly slapstick antics of the goofy paintballer who finds out a paintball gun is not much use against Jason – but the comedy is still an appreciated aspect of the film, and it's nice to finally have a Friday the 13th film where someone says they've seen enough horror movies to drive away from the scary guy in the mask standing in the road.

It's a pretty awesome, ambitious and sometimes very cheesy, apocalyptic sci-fi actioner. It just doesn't hold a candle to Star Wars, its cinematic big brother.

Daddy’s Home 2 seems like just another cookie-cutter comedy, but its heart is in the wrong place. It’s mean-spirited and half-hearted, and more than that… it’s just not funny.

Whether you find it exciting or troubling might vary from person to person, but either way Jennifer Garner delivers a standout performance that demands recognition, and will hopefully lead to better action movie roles for the actor in the future.