A particularly nice touch is the ability of one of the teenagers to pull people into her dreams, allowing Langenkamp and the threatened kids to gang up against Freddie. The neat script also fills in a little more of the Freddie mythology, including a suitably tasteless account of his conception. A creepy score and Russell's sure grasp of the skewed logic of nightmares helps to sustain the ambiguity between the 'real' and 'dream' worlds, while Englund's Freddie now fits like a glove.

The film’s bouts of slapstick and sentiment sit slightly oddly with its downbeat tone, but if Wilson isn’t entirely consistent as a character, Harrelson is consistently funny – and if anyone can make a sociable misanthrope believable, he can.

Escape Pla’ would have made a perfect vehicle for, say, a Chuck Norris or even a Jean-Claude Van Damme. But these two redoubtable, enormously watchable old-school heroes deserve better.

An intimate and likeable picture. As a part-animated live-action movie, it harks back to less frenetic kids' fare from the '60s like Bedknobs and Broomsticks, rather than, say, the 'toon-laden Roger Rabbit.

As with all of West’s work this is a good-looking, well acted film shot through with moments of real power, but its conventionality is troubling.

Not exactly arthouse, but as subtitled fluff goes, we’re talking première classe.

What’s the opposite of warts-n-all? ‘No warts’ doesn’t even begin to describe Morgan Spurlock’s fly-on-the-wall film about One Direction. No warts, no acne – there’s not even a pimple on the butt of this on-tour portrait of the reality-bred boy popsters.

It’s adequate and often fun, but no match for Cumberbatch’s talents: physically, his Assange is far more complex and intriguing than most of the things we hear him say or see him do.

Too many obnoxious relatives, evil critters and weak gags at the expense of fat kids and foul-mouthed old ladies.

You can see it coming, but it still has the delicious anticipation of the slow burn. And it all gets much worse. Director Richard Benjamin has the rare gift of knowing just where the funnybone lies, a certain taste for Keaton-esque slapstick, and a very fine comic performer in Hanks.

Overall, the film just feels too much like an obligation, as though everyone involved had spent too much time and money to back out, so they forced themselves to grit their teeth and get on with it. You may feel the same.

Terminator Salvation isn’t the gritty, futuristic blitzkrieg for which fans of the first two films have been salivating. It isn’t even the slick, entertaining Hollywood blockbuster most were realistically expecting. It is a shambolic, deafening, intelligence-insulting mess, a crushing failure on almost all counts.

The humour lacks the zingy surprise that Pixar or Disney might have brought to it.

How much you love this low-budget British effort will depend on your tolerance to quirkiness.

This sequel suffers from the same lack of quality control that plagued the first film.

The aliens are unscary and easily despatched, Vin’s too silent to be interesting, and the other characters – a gang of bounty hunters on Riddick’s trail – are either dull or offensive.

Hats off to Viggo Mortensen. He pulls off playing identical twins in this Argentinian thriller, which never quite lives up to his talents.

When the best one can say about a movie is that it’s pyrotechnically impressive, something important is missing. In this case it’s tension, originality and memorable characters.

Dismally lurid stuff, ham-fistedly directed and low on credibility.

CB4 is not in the Spinal Tap league, lacking that film's merciless detail and consistency. But in parts it is hugely, monstrously funny.

Despicable Me 3 suffers both from a lack of new ideas – there are no memorable gags or action set-pieces, just a lot of flying about and yelling – and from an assumption that the audience is already invested enough to care about what happens.

First-time feature director Jonas Govaerts handles the shocks and scares competently, and the pace is well maintained. But the characters are a forgettable bunch.

The script can’t find the right tone, torn between hard-hitting satire on the pitfalls of capitalism and goofy, upbeat we’re-in-the-money clichés. It’s a fine line that ‘The Wolf of Wall Street’ walked with ease – but Gaghan, sadly, is no Scorsese.

It’s all put together with a crisp confidence that suggests its writer-director will swiftly move on to bigger things.

Most of the set pieces are predictable in this formula comedy, though there is a sprinkling of chuckles in the sight gags.

The characterisation is feisty and memorable, the song-and-dance sequences intricate and colourful, and it’ll charm the socks off little people.

The students keep filming when it is insane to do so, and an avalanche of speculative tosh smothers everything except our mocking laughter.

A charismatic performance from Downey Jr and the growling presence of Duvall makes up for a multitude of sins in this big and brash family drama that puts the heavy emphasis on drama over family.