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 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.

Complications escalate to a tiresome degree, leeching the fun from the movie, which is slung together with cold competence (and not much more) by jobbing Icelandic maverick Baltasar Kormákur.

There’s nothing groundbreaking about the animation or script. That said, the characters and story still offer low-key charms.

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.

The Lone Ranger is content to simply pull another western trope out of the bag – the honky-tonk whorehouse, the ranch raid, the cavalry charge – give it a CGI spit-and-polish, and chuck it in the general direction of the audience. The result is frustrating, lazy and lifeless.

The film has plenty to recommend it, thanks to a string of memorable one-liners and Coogan’s unmatched knack for skin-crawling physical comedy. But this is a long way from the back-of-the-net strike it should have been.

This is a messy, poorly structured film, riddled with plot holes and lacking any kind of satisfying conclusion.

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

This is an unambitious, old-school thriller, nothing more and nothing less.

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.

This turgid return papers over the previous film’s narrative, but creates little in the way of a fresh character arc.

If its script is a little unwieldy and overwrought at times, Broken is still a work of delightful moments and strong promise for many of those involved. Norris works hard to inject some joy and wonder into what could easily be a much more dark and miserable experience.

Events are still unfolding, so this is a snapshot in time, but Gibney’s conscientious, revealing document proves a mine of valuable information and affecting emotional insights.

While Monsters University can’t claim outright originality, this is a far richer movie than most were expecting.

If Del Toro is pitching for an audience of 12-year-old boys (and we do mean boys: this is old-school macho), he’s done a bang-up job. Still, there are times when Pacific Rim could be the work of any jobbing Hollywood director – the warmth and idiosyncracy that characterises Del Toro’s finest work, from Pan’s Labyrinth to Hellboy 2, is absent.

This is a tighter, smarter film than either Shaun of the Dead or Hot Fuzz, and buried beneath all the blue-goo aliens and terrible punning is a heartfelt meditation on the perils and pleasures of nostalgia.

This is a film built on sensation, misdirection and randomness. The result can be maddeningly obtuse, but it’s also breathtakingly lovely and genuinely unsettling.

What a knotty, frighteningly real drama The Hunt is.

It’s a testament to the duo’s jazzy comic chemistry that they wring some laughs from this dated, frankly sinister premise.

This is easily Coppola’s funniest film. Leslie Mann is hilarious as Nicki’s phony spiritual mum.

The film keeps its good-evil borders compellingly supple, at least until a wobbly finale that requires Sarah to act like the Hollywood heroine she has so strenuously avoided becoming. It’s a minor blot on a film otherwise propulsively alive with prickly politics.

No comedy classic, then, but a good natured and engaging slice of goonish self-mockery.

Everyone has a different story. I found myself holding my breath listening to them talk. The story twists like a thriller.

Its repetitive qualities are beyond reproach. Every bit as amiable and disposable as its predecessor, it recycles everything from slapstick gags to its own voice cast.

[Redemption] doesn’t always work but wins points for originality.

Luckily, Hawke and Delpy remain as charming as ever, and their combined goofiness is more endearing than annoying. Winning, too, is the sense that this peculiar project, though imperfect, could grow old with its audience and its cast.

There’s something a bit over-familiar here – in a solidly entertaining, made-for-telly, nothing-we-haven’t-seen-before, way.