The best thing about ‘Kick-Ass’ was Moretz, and Hit-Girl still gets the best lines. Like the first film, Kick-Ass 2 pulls the reality of teen life into its fantasy.

There are a handful of really interesting scenes.... But for the most part Passengers is so anodyne, so frightened of the ethically troubling opportunities inherent in the setup that it just ends up feeling forgettable and silly.

As a thriller, Before I Go To Sleep is perfectly effective, but while director Rowan Joffe keeps the twists coming, something about Kidman’s blank, frosty performance is unconvincing.

It might have made a good episode of ‘Entourage’, but as a full-length feature it misses the mark.

This hugely entertaining oddity could never be mistaken for the work of any other filmmaker.

There are a couple of decent jumps and a few giggles, but nothing armrest-clenchingly scary about The Quiet Ones.

It’s formulaic, but also largely entertaining, quite touching, occasionally amusing and competently animated.

Director Sung-su Kim doesn’t spend long explaining how the heck this ravenous form of avian flu has come about, concentrating instead on the chaos as the epidemic spirals out of control.

The gags here ought to have been put out of their misery and the we’re-all-in-it-together bonding between the kooks of table 19 is just painful.

The humour throughout is alternately mindless, sexist, racist, and homophobic, and would probably offend if you managed to stay awake.

Another convoluted tale of criminal bumbling.

In the end, the characters are more lasting than the story, which is a standard save-the-city-from-destruction yarn. But this crew is a riot, and their world is intriguing and even a little meaningful.

Psychologists would doubtless have a field day with the film’s lumpy brew of semi-incestuous paternal angst, midlife machismo, all-American dick-swinging and moderate racism, but we imagine most of them are too busy to waste two hours on this sludge.

While MacLaine and Seyfried do the best with what they’ve got, The Last Word is pedestrian and predictable. It is harmless, though, too. You won’t believe a single minute of it, but you might, despite better judgement, find yourself caring by the end.

The film is sunk by a series of preposterous performances. There are more phony German accents than in a prep school version of Colditz, and Levin's expert plotting is buried beneath an avalanche of lines like 'Vat are we goink to do?'.

For all but the most forgiving horror fans, this is a lazy, stupid and incoherent failure.

The result, despite an uncertain start, is in the end a surprisingly intriguing and affecting movie.

Bond struck camp long ago, so it would seem pointless to complain about the dilution of Fleming's cruel stud into a smirking dinner-jacket with a crude line in double entendres. But the problem here is that the elements which act as consolation in late Bondage are missing.

This is one mad mess from start to finish... But the sheer ambition is impossible to ignore, and the sense of fun is infectious: you may fear for your sanity during Jupiter Ascending, but you’ll come out smiling.

Is there something creepy about Franny’s aggressive generosity and need to be needed? In a film with a better script, yes.

With some dire blue-screen effects, dizzying tonal instability and a total absence of suspense or originality, "Wolverine" is something of a disaster.

Chases on foot and four wheels keep the thing moving, but apart from a thematic wrinkle where Besson’s clearly siding with the hood rather than the lawmakers, it’s all pretty predictable.

There’s really nothing to recommend ‘Sea of Monsters’: the young cast are smug and forgettable; the action sequences barely get going before they’re over; and the whole affair is riddled with product placement and pop cultural references – one girl even seems to possess a magic iPad. Keep the kids at home

A way-too-leisurely thriller whose destination is fairly obvious from early on, but to which the talented cast apply themselves with effortful seriousness.

Would-be seadog Short inherits old boat and sets sail for adventure in the Caribbean only to have sozzled captain Russell land the whole crew in deep trouble. Queasy ocean-going comedy, not helped by Kurt's Robert Newton impersonation.

Sentimental and shallow, although just passable as a kids’ movie.

After a creaky, clichéd start, Need for Speed picks up a bit. The script is still as corny as hell, but the chase scenes are pretty spectacular.

There's absolutely nothing to it, beyond Ms Beals cavorting in a leotard, lots of sheeny backgrounds courtesy of Lyne the former adman, and a Joe Eszterhas screenplay mixed through with cliché concentrate as female blue-collar worker proceeds from showgirl at a men's club to the big audition for the Pittsburgh ballet school. The star, it has to be said, is not at her most convincing as a welder (how does she afford an apartment the size of an aircraft hangar?), nor should we forget that most of the serious terpsichorean gymnastics were done by uncredited French dancer Marine Jahan.