The Gallows offers up few new ideas and very few genuine scares.

This is an earnest, half-baked fairy story drenched in a thick soup of CGI. It’s awkwardly staged, with turgid, expository dialogue that is appreciably tricky for a palpably ill-at-ease young cast to deliver

There is an undeniable cheesiness to the closing stage of ma ma that makes it hard to take entirely seriously.

The Crow longs to be edgy and sobering, but the shallow, melodramatic treatment constantly calls to mind an insecure adolescent male who is trying to prove how dark and deep he is by dressing all in black and talking ponderously about death.

[A] depressingly inept comedy.

Director Stephen Chbosky badly mishandles the material, resulting in an increasingly frustrating experience in which Evan’s inability to come clean leads to a string of emotional manipulations that sometimes border on cruel.

The film is so weighed down by self-importance that the proceedings are embalmed in solemnity.

Logic, though, is not at the forefront of The Nun II which, like its predecessor, attempts to force the fear through endless jump scares and bombastic music rather than take time to build any real tension.

Hamstrung by lumbering plotting and variable special effects, this first part is an unimaginative hodgepodge which leaves its well-assembled cast stranded across time and space.

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

Attempting to celebrate the power of community and new beginnings, Sia’s directorial debut mostly serves as an unintended cautionary tale about chronic whimsy and outdated ideas.

Whether it’s Downey’s mannerisms or the dull quipping provided by his menagerie of digital co-stars, Dolittle is a joyless slog trying to pretend it’s a hip, magical adventure.

A teen group therapy session disguised as a superhero movie, Power Rangers is numbingly predictable and cynically made, recycling myriad blockbuster tropes but draining their adolescent pleasures in the process.

The script takes forever to get started, and once it’s going, labours to create a single plausible character. Nor can Taylor, who last handled the dreary The Girl On The Train, wring any suspense from his scenes.

An unapologetic old-school exploiter going full on for thrills and suspense, it’s undeniably polished and energetic, and features a couple of strong performances from young stars Isabel May and Eli Brown – but it feels fundamentally tasteless, indeed just plain wrong.

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.

Guardians of the Tomb, however, takes itself far too seriously, aside from the woeful running commentary provided by the thoroughly expendable Gary as the team plods from one dusty spider-filled room to the next, a sense of repetition quickly setting in.

The killer mascots may spring the coop, but this sequel never breaks free of its own conventionality.

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

The filmmakers preserve Seuss’s narrative beats but strain to replicate his whimsical spirit.

A drearily sincere movie about faith and tolerance, Little Boy boasts plenty of good intentions but very little else.

The Longest Ride plays like cynical fan service to Sparks’ readers, who, it is assumed, will be content to sit back and enjoy a cheap tearjerker, no matter how mouldy its execution is.

While the titular criminal gang at the centre of this action thriller may be presented as supposedly quirky and unconventional, the film in which they operate is as blunt-edged and cliched as they come.

Coward’s brand of urbane casual elitism is rather past its sell-by date. But the problems run deeper in this energetic but scattershot version of a property which might have been best left to rest in peace.

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

Ted 2 is as subtle as a frat-house flick.

Obvious good intentions are drowned in a hot wash of showboating stars and flooded by self-indulgence.

Will Ferrell and Mark Wahlberg are a lot less fun this time around, paired with a fumbling John Lithgow and a stiff Mel Gibson as their overbearing fathers who stop by for the holidays.