The actors – who seem to have been involved in a hideous industrial accident that’s left them with the superpower of repelling all comic timing – are spectacularly unfunny.

We don’t invest anything in either character, and with barely any tension, Serena grabs neither head nor heart.

Swayze gives up 'Dirty Dancing' for dirty fighting in this violent, spectacular and immensely enjoyable study of Zen and the art of Barroom Bouncing...Mindless entertainment of the highest order.

Beneath the well-tuned atmospherics lurks a schlocky, fairly ludicrous and pretty distasteful yarn that ultimately puts the stress in all the wrong places.

Everything you've ever hated about American teenagers, their music, money, fashion sense, their values, and most of all their pin-ups, in one auto-destructive movie.

The director has a feel for this shopping-with-Mummy's- plastic milieu, but the theme of peer group pressure and the almost universal human need for acceptance is compromised by a script of very Californian piety. Otherwise a slight but not unenjoyable movie.

All told, ‘Winter’s War’ is not the fairest sequel, but it’s not so terrible that it deserves to be taken out to the forest and finished off.

[A] baggy revenge thriller consisting of short violent set pieces interspersed with far too many talky debates about the morality of protecting a killer.

Henry 'The Fonz' Winkler's first starring feature purports to deal with the 'forgotten' subject of Vietnam veterans. But well-meaning references to a lost generation are quickly dropped in favour of routine odyssey as Winkler travels from NY to Eureka, California (yes, afraid so), teams up with Sally Field (casualty of a non-military engagement), and comes on like the only sane man in a crazy world (of course he's certified and on the run). One brief interlude of interest features Harrison Ford as a speedy but kinda slow vet who'd make Clint Walker look smart.

There’s little we haven’t seen before, including farting elephant seals.

From the opening voiceover to the out-of-their-heads party scenes, it’s utterly generic.

The thriller tendencies here are as half-cocked as its compassion for the struggles of parenthood, even if there are some admirable, if hard-to-watch, moments when Bier refuses to turn away from horror and pain.

Thank the gods of war for Antonio Banderas, who single-handedly steals (and almost saves) the show as a loquacious assassin.

The plot’s old, the title’s borrowed and the jokes are blue – but there’s nothing remotely new in this wearying bromantic comedy.

A right royal mess.

The novel A Long Way Down is not-quite-vintage Nick Hornby. And this is a disappointing film version, a bit hokey and fake.

There are a few ideas knocking about in the script – including repression of childhood trauma – but the silly, hand-me-down scares just don’t chill.

This forgotten chapter of history deserves to be better told.

This is a relentlessly unengaging affair, its derivative and logic-deficient script matched by flat direction and fussy, unconvincing CGI.

The cat-and-mouse chase across the desert that follows is entertaining to begin with but unnecessarily drawn out, leaving far too much room for Douglas to plug with cartoonish quips and daft machismo.

What isn’t so charming is Azaria’s irritatingly over-egged impersonation of the Child Catcher in ‘Chitty Chitty Bang Bang’ – that and the headache-inducing 3D.

The film’s pace barely leaves you time to think – blink and you’ll lose the plot. But there’s plenty of imagination here to honour the spirit of Carroll’s topsy-turvy tales, even if the emotional resolutions are of a distinctly twenty-first-century sort.

Devil’s Due spends far too much time on home movie footage of likeable newlyweds Zach (Zach Gilford) and Samantha McCall (Allison Miller), while neglecting to scare the bejesus out of us.

Eerie, chilling, at times engaging. But Mann's attempt to superimpose an analysis of the emotional attraction of Fascism simply doesn't work within the Heavy Metal magazine cartoon format.

Mostly, Zoolander 2 hits the mark with style. Just don’t expect anything too deep.

It’s badly paced, has too many plotlines crammed in and gives Joan’s character one-liners that come off as mean rather than Alexis-sassy.

It’s time to put this franchise on ice for good.

Don’t tell Liam Neeson, but someone had the gall to make a violent Euro-thriller about a rampaging American dad without him. And not a bad one either.