Sometimes a bad film is just a bad film, but Depp is most likely to pay the price.

If there is a star in this show, it is certainly cinematographer Nathalie Moliavko-Visotzky whose work stands out as the one perfectly valid reason to watch this film.

Thurber spends so much time referencing films he loves that Red Notice feels more like an elaborate game of dress-up than a worthy heir to their greatness.

Writer/director Michael Connors creates a good sense of atmosphere and clearly knows his way around the military milieu, but never manages instill the film with a much-needed sense of dramatic tension despite a solid enough story structure.

Any hopes of smart social commentary or unsettling psychological underpinnings are quickly shattered by a clichéd screenplay and amateurish performances.

The entire cast does their best with borderline hackneyed material, and the proceedings are nicely shot by ace DP Guillaume Schiffman.

Four Letters is a tale of signs and omens, destiny and divine intervention, cosmic connections and miracle cures in which love conquers every obstacle placed in its path. It has elements of Edna O’Brien’s early writing, and these star-crossed lovers might have appealed to Powell and Pressburger back in the day.

Although the follow-up to the 2023 original boasts colourful animation, too often this Illumination production mistakes visual and narrative busyness for genuine excitement. As a result the film, based on the venerable Nintendo property, suffers from strained humour and cluttered action sequences — issues that will hardly discourage young audiences from coming out in droves.

Not so much bleeding edge as screeching edge, Gia Coppola’s Mainstream is a frenetic piece of pop-art social satire that strives to be super-current but feels oddly traditional beneath its eye-searing, pixel-popping surface.

Despite its rich visual evocation of the eponymous port city as a simmering cauldron of vice, corruption, and barbarity, director Mikael Håfström’s film is undone by its tortuous plot, wooden characterisation, absence of narrative tension, and emotional nullity. It simply lacks conviction.

This religious-themed horror based around the phenomena of Marian apparitions has an intriguing premise but cuts too many corners in its catechism.

This Grand Guignol riot of rotting animal and Godless creations is great fun. However, of the cast, it is only McAvoy, walking the line between madman and genius, who fully manages to hold his own against the spectacle with which he shares the screen.

Vroman follows up The Iceman with a competently-made film, featuring solid production design from Jon Henson (Testament of Youth) and some good, gritty chase sequences, particularly at the film’s onset.

Convincing performances from David Oyelowo and Kate Mara – as an escaped killer and his drug addicted hostage – are the saving grace of Captive, a decent dramatic thriller somewhat weighed down by its mildly religious message.

Deftly made and diverting for young audiences but unlikely to linger, with any vibrancy tempered by the familiarity of the tune.

The feature’s heart is in the right place, especially in advocating that age shouldn’t be a barrier. But Poms is a by-the-numbers feature which couples its empowering message with routine gags and muddled conflict.

Assassin’s Creed is nearly wall-to-wall violence, but Kurzel reveals an eye for widescreen composition that, paired with Christopher Tellefsen’s efficient, hyperactive editing, gives the film the tenor of a sophisticated graphic novel.

Perversely pleasurable, it works on its own self-conscious terms, though not all audiences will appreciate its English brand of sad-sack humour.

Lucy In The Sky has ambitious visual flourishes, a bold performance from Natalie Portman and not nearly enough insights into the peculiarities of human behaviour.

Kin never feels like more than uninspired borrowings from other, better genre films; it’s a story about family without any heart.

There’s precious little to care about in a movie that’s neither ingenious nor silly enough to savour.

If judged by fluid effects work, Atwood’s stunning costumes, and the fun of watching Theron and Blunt reach new heights of arch camp, The Huntsman: Winter’s War is a triumph. By any other measure, though, it’s a far more qualified prospect

Like his hungry symbiote latching onto Eddie, Fleischer cunningly fastens a malicious irreverence onto an otherwise lacklustre superhero movie. But the symbiosis doesn’t quite take.

This tale of a bestselling spy novelist who finds herself embroiled in real life espionage has some fun moments, an impressive cast and explosive set pieces (not to mention some strong echoes of classic eighties adventure series Romancing The Stone) but, in its attempts to keep audiences guessing, ties itself up in knots.

Even when Georgie and Lu share the screen, there’s a curious emotional distance which means that this theoretically torrid romance never fully ignites.

Mostly Emmanuelle feels like a package and looks like packaged luxury, the kind that comes with money and not very much taste.

The Kitchen may prove to be a meaningful time-capsule document, but is far less successful as broad entertainment.

This horror-action picture offers modest genre pleasures and a consistently spooky vibe, resulting in a film that has been designed chiefly to ensure future sequels, although the story includes enough emotional shading and robust set pieces to be an engaging standalone feature.