Every shot is sluiced in flat grey light – the action scenes look like gravel in a food processor – while the dialogue is all botched quips and clichés (“Did somebody order backup?” one Transformer smarms while cocking a rocket launcher), and the human characters timidly written nobodies.

As last dances go, it’s the Macarena in film form.

The film succumbs to being undiluted tripe.

The general ineptitude is more likely to make you cackle in disbelief.

If you don’t actually want to make a film out of a Roald Dahl book, this critic’s advice is: don’t.

Venom can be quite a lively watch, both as a reminder of why Hollywood stopped making superhero films like this, and also for the occasional glimpse of the off-the-wall, star-driven freak-out that might have been.... But in terms of basic entertainment, let alone as the foundation of a franchise, it is miserably shaky stuff.

Other than sniggering about what an outré stereotype they’ve served up, it’s hard to see how Lee and Copley can justify this performance, which is quite the worst of the year, and sends the whole final act of their movie straight to oblivion.

It’s a series of pointless, boorish skits about two unrepentant lotharios.

The film is so myopically gripped by the idea of Marvel as endlessly fascinating corporate soap opera that in five years time, you wonder if it will make any sense at all.

It’s a misguided enterprise all round, and while it’s perfectly possible to applaud everything the film wants to say, you find yourself cringing at the ways it’s saying it.

MacFarlane’s making no effort to push the envelope, which is something of a relief, but nor is he winning anyone around to his increasingly desperate stylings as a nerd-turned-bully.

The amatory mechanisms here are so basic they make 1970’s Love Story look like Wuthering Heights, but at least Love Story had the courage to wring every last drop of pathos from its tragic-romance premise.

This series' sixth film has a daft plot, groans with lousy action and makes the poor old dinosaurs humiliatingly surplus to requirements.

Tom Gormican, the writer and director, mostly uses overlapping dialogue in place of actual jokes, although occasionally he stretches to toilet humour.

I snorted with genuine laughter, hard, at this film’s closing notion of what being a comedy even is.

As dismal to contemplate as it is persistently horrendous to even look at, there aren’t enough Patrick Stewart-voiced emojis in the world to express what an ugly, artless exercise this is.

The result is cinema you don’t watch so much as absent-mindedly scroll through, wondering when an idea or an image worth clicking on will finally show up.

As filmmaking, it’s as mindless as Hollywood’s worst.

With the filmmakers almost palpably high-fiving between these takes, it’s no surprise they wind up with a star performance that has to count as one of this star’s most strenuous. Treated as this zoo exhibit, he isn’t unleashed to express himself creatively. He’s caged.

All in all, it’s a new low in a mini-franchise comprised almost entirely of new lows: Venom, Morbius, and now this.

It’s the film that’s hell – and a very dull, desperate hell at that, as if these dungeon masters have realised we aren’t sufficiently scared by the main event, and try throwing the kitchen sink at us, almost literally.

In cinematic confession, no number of Hail Marys could make amends for this.

American Assassin seems to have a certain target audience in mind, and it’s probably not one you’d want to be considered a part of.

Where the film completely falls down is in director Joshua Michael Stern’s disastrous decision to cast Ashton Kutcher in the central role.

Ana de Armas stars as a new, lethally dull trainee assassin, Keanu Reeves makes an emergency cameo, and the film is an absolute stinker.

This would-be-frothy date flick is a sub-"Meet the Fockers" dog’s dinner.

You can sense what Dahan’s aiming at: by introducing the spectre of Hitch early on, he lays out Grace’s existence as a kind of lived-in Hitchcock thriller... But the acting is so heightened, and the script so thoroughly awful, that Dahan’s idea – his big and seemingly only one – can’t begin to stick.

The action is slapstick-driven, yet the set-pieces are all so transparently bogus – with fourth-rate CGI and actors’ digital doubles flopping about the place like haunted marionettes – that they play as insulting rather than outrageous.