This ungainly and glum tale of the man famously known as Tarzan — who returns to the Congo, reconnecting with his past in the process — slavishly adheres to contemporary blockbuster convention, offering not a single spark of inspiration or real daring. A talented cast led by Alexander Skarsgård scowls through the film, held hostage by a solemn script and ghastly amounts of CG.

This apocalyptic thriller is a run-of-the-mill zombie flick that goes through the genre motions efficiently enough but fails to live up to its credits.

The Shallows is diverting escapism one wishes could have cut a little deeper.

Although the gags hit home throughout – as they should, with such a broad target – the script loses focus slightly in the final twenty minutes.

The veteran Hong Kong director makes his audience wait for the promised fireworks, and Three’s flimsy premise never quite captures the grounded realism of Drug War or Election, or the visual flourish of Exiled or Vengeance.

Collision Course is a colourful 3D romp that’s heavy on slapstick and cosy family comedy but light on real laughs and affecting drama.

The use of animation is sometimes a little crude, but the homespun aesthetic works well with the quirky nature of the story which unfolds.

Resurgence doles out the action and effects work in carefully calculated, incremental doses, which give the film a cumulative tension. Even if it’s hokey and jokey, this is a loud, effects-driven piece, with a driving score. For fans of Roland Emmerich disaster movies, this both hits all the marks, while delivering nothing new.

Although occasionally stirring, the film rarely rises above the level of intriguing anecdote, resulting in a deeply drab drama enlivened somewhat by Matthew McConaughey’s empathetic performance.

Bracing fun as it is to watch, the film is rather an empty thrill.

Zombie’s filmmaking career began with inventive pop videos for his band White Zombie and he can still frame an interesting shot or layer in an unusual and affecting snatch of music, but after six features he still can’t come up with a fresh story, write characters with more depth than their make-up or direct stalking scenes that are suspenseful or moments of gory violence that are shocking.

There is a real sense of poignancy and heartache in random scenes with Azema or Balmer and even if the film deliberately eschews easy comprehension it remains involving and intriguing enough to keep the viewer on board.

The latest film from Chris Renaud (Despicable Me) and his team is a madcap caper full of densely-packed sight gags, dizzying action set pieces and a healthy side-helping of Renaud trademark silliness.

Seydoux never manages to assemble all of Celestine’s various features into one convincing character, while the social, sexual and political nuances in the script are well-established clichés.

Staying just on the serious side of funny, Feng’s Mr Six is a fine, savoury creation.

Finding Dory is a supremely delightful sequel. Although never challenging the original’s high standing within the Pixar pantheon, this follow-up showcases everything the venerated animation company does so well, providing plentiful laughs, ace action sequences and a deep emotional wellspring.

It makes for a demanding, overlong two hours but the intensity of the approach and some provocative moments sustain interest as good intentions pave the way to a kind of hell.

The film’s destination might be apparent, but the trek through past regrets, race relations and the central subject itself never feels drawn out.

[A] powerful, at times shocking but also intensely human documentary.

The closer the documentary gets to individual musicians and their histories, the more engaging it becomes.

Lacking some of the simplicity and elegance of the first instalment, The Conjuring 2 is nonetheless a smoothly efficient horror movie, building to a powerhouse finale rooted in our emotional connection to the film’s well-drawn main characters.

Packed with better action sequences and a smidgeon more emotional resonance, this sequel may be more engaging than its predecessor, but the franchise remains a rather clattering and crude affair.

A superbly silly sendup of the modern musical landscape, Popstar: Never Stop Never Stopping is as thimble-deep as the throwaway hits it’s satirising, but also just as lively.

Doubling down on the giddily ridiculous tone of its predecessor, Now You See Me 2 is diverting, but the film’s rampant, cheeky cleverness — its ‘can you guess what’s going on?” coyness — ultimately proves tiresome.

It’s a classic underdog story, effective for its engaging chronicle of outsiders trying to change the system.

Fizzing with ideas, as difficult to pin down as its heroine, Divines keeps generating electricity long after the lights have gone down.

Na’s screenplay takes viewers to the root of evil in a manner that subverts expectations and cleverly manipulates cause and effect at almost every turn.

The film takes a long time to build dramatic momentum and gets interrupted by what seem like unnecessary plot points; some of them, perhaps, geared towards potential sequels.