Despite the Falling Snow is held back by stylistic choices.

Another of those mildly titillating high-school films, soulless and self-satisfied, realising the youthful fantasy of being initiated into the joys of sex by an older woman.

You can see why this girl-saves-guy storyline clicked with Watson’s feminism, and she brings pin-sharp intelligence to the role. But everything here feels inauthentic.

The Space Between Us is mostly harmless. But it won’t come close to troubling your heartstrings, let alone the space between your ears.

It’s a potent mix for young fans that gets off to an entertaining, action-packed start with bursts of knowing humour. But it’s soon bogged down by an increasingly convoluted plot, an overindulgent running time and absurd dialogue.

It’s all too much too fast, and the cumulative effect is like watching a two-hour trailer – more dizzying than thrilling.

The total absence of originality here is notable, but it needn’t have been a problem: with a tighter plot, a touch of humour and some peppier, less slab-fisted action scenes this might actually have worked – a kind of Guardians of the Galaxy meets Lord of the Rings.

It aims for a loose, French New Wave style but settles for muddled and rambling. It’s tortured for all the wrong reasons.

The London scenes are fine but the guys seem far too relaxed in Miami considering death is looming. And we’re given no reason to root for them other than that they’re young and good-looking.

Gung-ho American World War II bomber pilot falls for an already married English rose during teatime rendezvous in war-torn Hanover Street. Anaemic and foolish.

This limp, sometimes lifeless business-trip comedy can’t decide whether to aim for teenage boys or their fathers. So it plumps for – and misses – both.

The only thing blue about the movie is the sea, and the way you'll feel after wasting your time on this dose of 'tasteful', TV commercial-style, nudity.

Cruz has enough charm to melt a glacier, but she can’t rescue the shamelessly sentimental script by director Julio Medem (‘Sex and Lucia’). Ma Ma is going for the heartstrings, but don’t bother taking tissues.

As usual, Hyams makes good use of the locations, and stages the stunt sequences with great skill, but his handling of the romance and father/daughter conflicts is at best uncertain, at worst embarrassing.

The list of co-stars – Jane Fonda, Octavia Spencer, Aaron Paul – is so impressive that it’s hard to know what attracted everyone to such a soapy, cloying script.

The whole thing is boring and phony, with just a couple of lines of dialogue that feel sharp.

This has its moments, but offers a significantly weaker call on your time.

In the plus column there’s a small handful of decent gags, a clutch of welcome cameos (Eddie Izzard, notably) and at 85 minutes it doesn’t outstay its welcome. There’s also a fairly solid moral about free will and personal desire. But nothing else here really clicks.

There’s not a single, solitary laugh to be had.

Social media has never been so scary.

Part III has curiously little interest in being even remotely funny.

Props to director Rob Cohen for making a gender-flipped 'Fatal Attraction’. But The Boy Next Door really should be a lot juicier.

There’s nothing here that works.

Pettyfer and Wilde (both Brits) look the part in a soft-drinks-commercial way, but their characters might as well be called Ken and Barbie for all the depth they bring to this wish-fulfilment fantasy of social mobility.

Forest Whitaker's cameo adds plumage to what is otherwise a well-plucked turkey, humourless and plagued by a script full of stilted mumbo-jumbo.

Having jettisoned all but one of the original cast, this cynical sequel retreads familiar ground, provoking both disorientation and déjà vu.

It’s not a total washout: at least one gag in five is actually funny, and the action scenes set an enjoyably breakneck pace. If you’re an 11-year-old on a week-long sugar jag, you might just love it.

The standard of acting is poor beyond belief. What happened to Grant’s career that he should be in the likes of this?