As modern dating movies go, How to Be Single gets a lot right.

This is a confident, terrifically enjoyable film, superbly written, shot and performed.

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

It’s all so horribly cynical, with every line, every twist and every note of music painstakingly focus-grouped to extract maximum cash value from the audience.

What Welcome to Leith does very well is dig deep and expose Cobb – and by extension the entire American neo-Nazi movement – as weak, confused and desperate, using a dying ideology as a way to feel less alone in the world.

The average lifespan of a chipmunk is five years – which means the kids’ cartoon franchise about the trio of singing superstar rodents has already outstayed its welcome.

At its heart, is Danner’s lovely performance, vulnerable and smart behind the sarcastic façade, and sealed by a devastating karaoke performance of Cry Me a River that hints at the musical talent her character left behind in her youth.

As the determined but fragile son, Reynor has a strong presence, but Collette’s character is too thinly sketched to make much sense.

Bloody, shallow and oh-so-smug, Deadpool is so eager to offend that it’d almost be sweet if it wasn’t so, well, relentlessly annoying.

Gorgeous and haunting, this is a tantalising introduction to Pamuk’s work.

It all spins out of control in a final blowout of naff special effects and random shouting, but there’s just enough leftover goodwill to carry it through.

This low-key charmer of a movie packs an unexpected emotional punch once the brothers finally manage a rapprochement of sorts.

The result is an odd, inconsequential but not entirely charmless misfire: an action-horror-comedy-romance with none of the first two and precious little of the third.

The top-notch cast keep calm and carry on, but this TV remake is a waste of everyone’s time.

It’ll most likely keep the smaller kids diverted while parents capture a few zzzs.

There are laughs, but they’re tinged with the sadness of watching a beloved elderly relative making a bloody old fool of himself.

In its own restrained way, this drama packs an emotional punch.

We’re all set for sparks to fly, but unfortunately reality doesn’t quite live up to the set-up.

It’s a strong setup, poorly handled.

Lau’s astute performance is rather like the film as a whole – at first you think it’s underdone, but it’s actually cannily judged to favour genuine feeling over pushy sentimentality.

Visually, it’s never less than arresting. Gently amusing, too, is the relationship between Keitel and Caine, even if the dialogue Sorrentino writes for them often displays a fondness for empty epigrams.

Daddy’s Home raises the occasional smile, but it’s not exactly Wahlberg or Ferrell’s finest hour.

Brand is a winning – cuddly even – bridge between his film’s ideology and the wider world.

Jennifer Peedom’s film is stunningly photographed (how could it not be?) and brilliantly sly: she gives the tour guides and their rich, self-absorbed charges just enough rope to hang themselves, and they duly oblige. But it’s also a heartfelt tribute to the resilience of a people.

Sisters is too strained for a comedy starring two of the funniest people alive.

Nine years in the making, this impressive doc pieces together the story of the biggest global protest in history.

Lawrence is gritty, real and totally genuine. And, after ‘Brooklyn’ and ‘Carol’, here’s another film that passes the Bechdel Test for proper female characters with flying colours.

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