If The Blair Witch Project signalled a new dawn of horror, Blair Witch is the loud death rattle of a once exciting sub-genre, disappearing into the darkness.

Given the bizarro conceit, there’s something surprisingly, and frustratingly, safe about the film.

It’s commendable that Perkins seems wholly uninterested in the tropes of the genre: there’s only one jump scare, hardly any gore and no final girl. The elusiveness of the narrative, however, grows weary fast.

It’s a strained, dramatically inert and often frankly silly odd-couple bromance fantasy about the Northern Ireland peace process negotiations.

Cranston acts the hell out of the role, like he’s performing Macbeth in a room. Unfortunately his commitment isn’t enough to sell Wakefield as anything more than a hollow character study, with an unappealing tool at its core.

More meme than movie.

The lifeless direction, the unrefined script, the underwhelming cameos, the distinct lack of fizz – there’s a slapdash nature to the assembly of Ocean’s 8 that makes it feel like the result of a rushed, often careless process. It’s made watchable thanks to the cast but star power alone cannot mask creative inadequacy. Stealing a diamond necklace is bad but wasting an opportunity like this is unforgivable.

The Circle is all foreplay, playfully prodding without providing a satisfying payoff.

The complete jigsaw doesn’t fit together, hampered by plot implausibilities and unrealities.

What’s odd is that the movie itself turns out not to be some incendiary provocation, but squarely Bollywood trad, a globetrotting weepie unlikely to offend anyone but the most entrenched.

Trash Fire is too quick to burn through its ideas.

The dialogue is at times embarrassingly bad.... On the other hand, the period details are impressive and must have cost a pretty kopiyka or two, and the film benefits visually from being shot on location.

As things go bad for Wilson, the movie, unfortunately, loses a considerable amount of steam as well.

Even though director Benjamin Ree has accessed the family archive of footage showing young Magnus as a socially awkward prodigy through the years and interviewed him directly many times, the film barely dents his inviolate wall of polite reticence.

The film is tentative and over-protective, as though it’s terrified that a story empowering kids to help good battle evil could give someone a nightmare. It reduces the whole universe to one girl’s self-esteem.

[A] thin, slightly exasperating documentary.

This bloated, featureless, CGI-heavy movie is not so much stealing from the rich and giving to the poor, as stealing from Guy Ritchie, Batman, Two-Face and a few others – and not giving back all that much to the audience.

This is anaemic stuff, though perhaps its target audience won’t care.

It’s a very minor victory to report that rather than being bad, it’s merely bland, an adequate milquetoast time-waster for a very young and very undiscerning audience.

It’s slickly made but shoddily scripted, with sub-reality TV dialogue...and a range of unengaged, soapy performances. There is some fun to be had from the loud and nasty death scenes though, which allow us the pleasure of seeing self-absorbed Facebook addicts get gruesomely murdered.

An Inconvenient Sequel is more a portrait of Gore than a call to arms. It ends with a sort of forced positivity, much of which is recycled directly from the first movie: political change is hard, but we can do it, morality demands it.

A disappointment.

It is an ordeal of gruesomeness and tiresomeness that was every bit as exasperating as I had feared.

It is a film with all the depth of a fridge magnet.

The exuberant comic talents of Will Ferrell and Amy Poehler are largely wasted in this uninspired addition to the frat movie canon, which resembles reheated leftovers of the Hangover, albeit with a curious detour into some heavy bloodletting.

For an action-comedy, its timing is lousy.

What a peculiarly dodgy, conservative film this is – a lazy salute to a good queen and her faithful Indian servant. It’s a film about the Raj era that looks as if it was made back then, too.

This film never gets up a head of steam.