Never satisfyingly kooky, spooky or ooky, the new animated Addams Family film transports Charles Addams’ lovably macabre clan into the 21st century, resulting in an undistinguished children’s comedy full of dull pop-culture referencing and half-hearted commentary about the importance of inclusiveness.

If it never quite delivers on its promise of cheesy scares, neither does it really try for true psychological thrills with enough conviction.

Preposterous, nonsensical, but fun nonetheless, Unbroken frustrates as much as it entertains.

Bright, colourful and relentlessly frothy, Book Club: The Final Chapter is not so much a film as a series of inspirational posters and Italian postcards stitched haphazardly together.

With modest ambitions and a slender runtime, the film proves to be a sexy, amusing time – despite being fairly forgettable.

The clumsy mixture of nostalgia, scares, set pieces, sincerity and wisecracks never gels.

This spiky black comedy is smart, cool and occasionally funny, in a bleakly cynical way, but it’s also surprisingly dull for long periods.

Ireland and Hill have crafted a layered Shakespearean adaptation that is intricate and immersive — a description that applies to the performances, including Winter in a role which was originally earmarked for Hill.

If The Nun leaves a haunting impression, it’s of a missed opportunity to capitalise upon a visually distinctive antagonist within an existing hit series. The end result feels like an exercise in joining obvious franchise dots and paving the way for future films.

Boasting some strong performances and clever writing, this breezy overview of the author and his magnum opus, The Catcher In The Rye, fails to fully capture the magnitude of this brilliant author’s struggle for greatness and then, later, his decision to walk away from literary stardom.

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

It’s a likeable popcorn movie, with some good monster moments, an engaging international cast and Jon Turteltaub helming a family-friendly balance of laughter and mayhem.

By turns flippant and poetic, demystifying and just a touch reverent, the film thrives on whole-hearted collaboration from Deneuve and the other luminaries playing themselves.

Joaquin Phoenix demonstrates again his willingness to take risks — in this case, singing alongside the far more technically skilled Lady Gaga — but a performance that was once so attuned to his character’s fragile mental state is, in Folie A Deux, littered with familiar flourishes.

In the end, The Upside is the sum of its good players and dubious politics, wrenching genuine tears from a story that celebrates the rich promise of life in all its shades of joy and heartbreak.

The film unpacks few surprises, although Argentophiles may applaud a ludicrous and copiously gory climax.

It might be fitting that a film about a film made under a censor-heavy regime is better to look at than engage with, but it also says much about the slight and stretched The Queen of Spain.

Save the highly predictable decider, the on-court battles are satisfyingly fast and fierce, but the tension they generate is undercut by the labored Oedipal melodrama that contains them.

It’s undeniably powerful stuff, but a more straightforward piece of storytelling, lacking the slippery, shape-shifting quality of his debut.

Tom Holland and Mark Wahlberg are a likeable duo, and there are some spectacularly overblown set pieces, but this video-game adaptation ultimately feels too familiar, borrowing heavily from Raiders Of The Lost Ark and National Treasure when it’s not riffing on heist films and buddy comedies.

Stitched together from better pictures - all of which viewers would be better advised to check out - The Pope’s Exorcist’s one saving grace is Crowe who still, despite the hound of hell that is this film, is a significant screen presence who commits to some dialogue that only Satan himself could have dreamed up.

Dogman may have a more intimate, reflective tone than much of his work – at least until its final man-versus-dog showdown – but it struggles to get past that initial cool pitch.

Whatever mild pleasure can be derived from seeing Batman and Wonder Woman team up with other costumed crime-fighters quickly dissipates as it becomes clear that director Zack Snyder has again crafted a lumbering blockbuster that dilutes what’s so stirring about these fabled fictional champions.

Rather than being insightful or candid, Five Nights mostly feels inconsequential — an intriguing, uneven narrative experiment more than a fully satisfying story.

For a film about the music business, it’s interesting that Kill Your Friends sticks so faithfully to one note throughout; it’s as if Niven fears any glimpse of humanity might risk the project’s integrity, but the lack of human empathy ultimately becomes this project’s biggest handicap.

Roland and Vanessa simply aren’t sufficiently compelling to provoke us to fill in the blanks. Pitt brings his usual weathered charm, and Jolie Pitt makes her character’s all-consuming melancholy occasionally ravishing, but there’s not enough depth underneath.

It’s all glossily camped-up nonsense with an amusingly inappropriate title, but luridly – and ludicrously – entertaining nonetheless.

A few sub-plots get lost...but this offers a satisfyingly large-scale demonic incursion as glimpsed from the streets.