Leagues ahead of Legacy but the weakest of the Matt Damon movies, Bourne still has the power to thrill. But it seems his story has run out of steam.

A well-cast coming-of-age story with a potty mouth, Good Boys certainly has its moments, but is overall pretty small fry, too reliant on recycling the same joke.

Impressive, if messy, the film combines kitchen-sink drama with found-footage horror, perjuring itself with too many plot possibilities.

A grand folly that makes the Wachowskis’ "The Matrix" trilogy look prosaic, Cloud Atlas is a fascinating if flawed work that will leave you gasping one minute and gagging the next.

Well-crafted, well-intentioned and well, just a tad dull.

Tween-appropriate action and jungle-genre gags keep this family-friendly reboot giggly rather than gripping

Smart dialogue, a gifted ensemble and good intentions from Jennifer Westfeldt, but her grown-up romcom can't quite escape feeling like a sitcom on the big screen.

Fast-paced, explosive, ultra-violent, the incredible action scenes will have you cheering from your sofa, sending the popcorn flying.

A Frankenstein’s monster of comedy, romance and horror that’s less than its parts, Warm Bodies entertains but underwhelms.

While Batman v Superman has no trouble quickening the pulse, it’s less effective when it comes to making you care.

Creakily slick like the rest of The Conjuring series, this spring-loaded spook story hits the mark more often than not.

Though more forgiving than previous Solondz films, Dark Horse is too slight to herald a wholesale change of direction. Yet it's still worth catching, if only for Walken's terrible toupee.

With more whimsy than a Wes Anderson wedding – and a clunky third act that potholes the plot – Jeunet’s American comeback is beautiful, heart-warming and a bit of a mess.

A glossy, undemanding confection that doesn’t make waves, but shouldn’t be given a wide berth either.

Mashing up Groundhog Day with Get Out, They Live, Sorry to Bother You, Westworld, A Clockwork Orange, blaxploitation films, "X-Files shit", and more, They Cloned Tyrone is a race-conscious conspiracy caper at heart, spruced up with some zippy patter and a razor-sharp cast.

Irish politics made accessible with the help of a playful script, two fine performances and 11 years of hindsight.

Those with fond memories of a gentler era of boy-and-his-insert-critter-here heartwarmers are bound to welcome Dragon’s old-fashioned vibe. But it still feels almost perverse to place all of Weta’s hi-tech wizardry at the disposal of a film so stubbornly, studiously lo-fi.

Though it dabbles with the horror of the Third Reich it never examines their worst atrocities ... And that perhaps, is too careless in today’s world of a rising far right and stealth dictatorships. But if you’re looking for giddy escapism, Bowie tunes and an unapologetic good time with a side order of remembrance for of WW2, then you’ll have as much fun as the cast clearly had making this.

Gore and guffaws go hand in weapon-wielding hand in a belated follow-up that struggles to replicate the original’s winning formula.

Bleed for This is made with palpable commitment by all involved and there are scenes to jolt viewers out of their déjà vu.

Lacking Snyder’s directorial dab hand, Army of Thieves is still a fun heist movie that makes an already likeable character even better.

Clearly no stranger to John Hughes movies, writer-director Kelly Fremon Craig brings a spiky wit and a warm-hearted, nerd-friendly finale to a comedy that wants for nothing but a little substance.

Stanfield, on double duty as both Clarence and his straitlaced disciple twin Thomas, is a charismatic lead in a cast that boasts more than one enjoyable cameo. Yet you can’t help concluding that Samuel’s laudable ambition to give his mischievous comedy a deeper resonance was too heavy a cross to bear.

While there’s sweetness, the big, sweeping emotions you hope for never quite arrive.

Paul Giamatti shines as Theo’s pessimistic brother Chet, and the uplifting message never smashes you over the head.

Fun, fleeting entertainment if you’re after more of the same, but fails to carve out any fresh ground.

The Crooked Man is at its best in a flavoursome first half that serves up crepuscular, shallow-focus photography (take a bow, DoP Ivan Vatsov) and backwoods dialect as tangy and prickly as wild gooseberries.

Bandele’s keen handling of cast and domestic conflict makes for a nuanced historical epic, but he’s less sure on the big stuff.

Director Arnaud des Pallières lends a bleak austerity to the story, but with only one murky battle scene to quicken the blood it’s hardly a recipe for unbridled excitement.

Director Dominik Moll makes some odd style choices – like Looney Tunes-style ‘iris wipes’ – and it’s a while before Cassel fully embraces his dark side, yet his customary charisma is what seals The Monk’s redemption.

Warning: contains Jason Biggs' wang and the contents of Stifler's bowels. Happily, the fourth, funny, (possibly) final serving of American Pie is also warm and nostalgic enough to satisfy.

After a first half that suggests franchise fatigue is setting in, Fallen Kingdom zooms in for some scarily good set-pieces.

It never feels particularly different to what you’ve seen before, and doesn’t push any boundaries visually or narratively in the way its DWA stablemate Puss in Boots: The Last Wish did.

Incendiary storytelling with nuanced performances, but the transition from stage to screen lacks focus.

Rodriguez doesn’t take his foot off the gas for the entire 94-minute run time. There’s an action sequence about every four minutes and a plot twist every 10. In a world where so many films feel bloated and overextended, the frantic pace is highly refreshing.

McKinnon, Aniston and Jillian Bell's smiley pimp run away with the show, and as the party wears on, it becomes increasingly, thrillingly surreal.

The cumulative effect offers a tender tribute to the resilience of his subjects’ spirits against the thrum of traffic.

By no means an epic fail, but lacking the spry wit of more adult-friendly animations, this is big on action and small on originality. Gorgeous visuals aside, Epic is resolutely kiddie fare.

Starts off flavourful, turns rather bland. This Injustice League jaunt proves that DC is still a long way behind Marvel for on-screen action.

The biggest X-Men movie yet doesn’t scrimp on carnage, but lacks the heft of Singer’s previous instalments.

The minions give good mayhem and the twig-armed animation’s lovely. Despite the coolest submarine-car since Bond’s Lotus Esprit, though, Despicable Me 2 is light on gadgets – and surprises, too.

Sully is a skilfully made reconstruction of a recent real-life feat of heroic professionalism. But narrative tension is sorely lacking.

Shyamalan concludes his secret trilogy with a film easier to admire than love. McAvoy is terrific again, but Glass doesn’t quite live up to the lofty heights of Unbreakable and Split.

There's enough gore, ideas and self-aware absurdity here to make it something a bit more enticing than merely "Alien: The EastEnders Redux."

It's stiff upper lips versus ruthless efficiency in Petter Naess’ modest WW2 drama.

Technically impressive, genre-smart and nerve-shredding while it lasts, Silent House is really just a fun campfire horror tale.

El Camino, then, offers a final – if not wholly necessary – farewell to some of the greatest characters ever put to television screens. And Jesse, poor Jesse, finally gets the closing chapter he deserves.

The storytelling can feel a bit plodding, but Jim Broadbent’s exuberant Ernest and Brenda Blethyn’s timid, upwardly mobile Ethel give the marriage a touching intimacy and warmth.

It’s not the most probing doco, but the man himself, mobbed wherever he goes, emerges as a genuinely charismatic, likeable individual.

Assured, adult filmmaking from a writer/director who knows her way around the ups and downs of relationships.

Gusman is sullenly magnificent; you can’t fault the movie’s realism either, shot in an actual prison and soberly reflecting some acute social problems. But the movie’s muggy pace makes you feel that you’ve served every day of Julia’s sentence with her.

With a wraparound narrative that never really strikes a balance between past and present, all that axe-flinging, ice-casting action makes a modest impact.

Ethan Coen strikes out on his own with a frivolous frolic that wears its slightness like a badge of honour.

Straight Outta Compton soars for an hour before spiralling into a bloated, melodramatic mess. Still, it’s worth it for the early ferocity, capturing just how powerful N.W.A really were.

Working from a script by Greg Rucka (The Old Guard) and Allison Schroeder (Christopher Robin), director Tom Harper (The Aeronauts, Wild Rose) displays impressive action chops, injecting Heart of Stone with plenty of explosive fights and spectacular stunts. On those grounds, it’s rollicking genre fare. Story-wise, however, it plays all its best hands early on.

Fans, naturally, might simply want what they came for, and leave licking wounds. But they should be partially sated by some grisly kills and nods to Carpenter classics Christine and The Thing. And besides, let’s not fool ourselves that it really ends here. Friday the 13th: The Final Chapter was followed a year later by Friday the 13th: A New Beginning.

This latest Millennium movie smooths out the series’ earlier quirks. But there’s action galore and Foy makes a poised, dangerous heroine.

Lionising the pulverising, this is more fun than it has any right to be. The hockey technicalities may alienate, yet the demented, bone-crunching scraps, war-time team mentality and Whip-It style anarchy is addictive.

Another silly but sturdy instalment that’s as well-oiled as The Rock’s muscles. If the ‘Letty in London’ story doesn’t exactly have that new-car smell, this is still the fastest soap opera on wheels.

With Yakin's all-action plot operating like clockwork, an on-song Statham proves anything but expendable in a genre he dominates. Predictable, sure, but equally pleasurable.

Kim Jee-woon's riff on the western is an entertaining frolic back-loaded with gore and guffaws. Arnie's back!

A through-and-through weepie that's unlikely to convert any Sparks naysayers. The darker hues of its war-based story nonetheless make the sugary excesses easier to swallow.

Fans will find just enough heart-swelling moments involving friendships and family to enjoy one last group hug.

A plodding, predictable script hampers this tale of a real-life legal battle. But it’s redeemed by a vital central performance – and some vivid flashbacks.

For all its warm-hearted fun, well-crafted thrills, careful nostalgia and girl-powered gadgetry, this fast-paced family film doesn’t always feel like a natural fit for Hollywood’s favourite genre-bender.

A sweet-natured love story, well-intentioned, animated and acted, but lacking the depth of some of the studio’s greatest triumphs.

No huge surprises but finely tuned and fun, like the love-child of Gravity and Alien, with added popcorn.

Series veteran Chris Renaud (who co-directs with Despicable Me lead animator Patrick Delage) ensures that there’s nostalgic value for older generations, notably in the surprisingly heartfelt, Tears for Fears-soundtracked finale. The addition of the cunning Gru Jr proves a deft move, too; the father/son, bonding/tormenting scenes bring a fresh (and at times touching) dynamic to proceedings.

It’s a bonkers, ballistic, brain-numbing ride.

Shepard’s film is fun but forgettable in the first hour, then disappointing in the final third. But Law’s raucous turn keeps you watching.

Freestyle, funny but finally just too repetitive, Ice's affectionate home-movie needed someone to structure it into a deeper documentary.

Granted, the Lady Raven sequences go on for a bit too long - M. Night is clearly enamored with his daughter’s talent as a pop singer - but other than that minor indulgence, this is a taught thriller that slowly ties a rope around Hartnett’s throat and squeezes as the gig rolls on.

It may lose its way on occasions, but thanks to a committed cast and a script that captures the Kerouac vibe, Salles' adaptation never ends up on the road to nowhere.

Twists pile as high as corpses before an overcooked ending sends things spiraling into silliness.

A fun if by-the-numbers heist movie that brings the laughs, but doesn't stand out from the crowd.

This perfectly alright actioner will entertain newcomers, while leaving Blomkamp fans in a holding pattern until his next project.

Yes, it's effectively a feature-length vid and, occasionally, the synergy of beats and visuals slip as the manga-shaped action doesn't quite match the tunes. But it largely works, the spectacular space-disco-opera sensibilities ensuring that Interstella shimmers with verve throughout.

It's no Hakuna Matata, that's for sure. And it's far from Jenkins' best work, but in any other hands, a lot of Mufasa's intentions would have completely misfired. Thankfully there are some stellar vocal performances and VFX – but it could have been so much better.

Required viewing as a critique of US foreign policy but forgettable as a drama, Good Kill is a timely warning, even if it lacks the power of the horrors it depicts.

The film strips away ideas of heroism mercilessly.

While it lacks a memorable villain, and the central pairing fizzes but never sparks, the film gets by on its vintage charm and a third act upswing.

What emerges is a touching study (in more ways than one) of the trials, terrors and triumphs of living with physical disability.

This is a perceptive, warm-hearted work, anchored by Knoller's impressively less-is-more performance.

A feelgooder spiced by social conscience, this is one of those underdog productions with potential to punch well above its weight.

Carell and Carrey shine like sequinned suits in a comedy that allows them endless fun with the dressing-up box. More narrative verve and it could’ve been The Prestige in a big-cat wig.

Handsomely shot but rather inert adap of mid-19th-century play A Month in the Country.

There’s an undeniable charm here that, allied with the picturesque locations, results in a nostalgic throwback to a gentler age.

It suffers an abrupt ending and, compared to the creativity displayed in Coppola’s other biopic, Marie Antoinette, is a more muted affair.

Derivative and a little dumb but consistently fun: there’s personality and panache to spare in this monster blockbuster.

An old-fashioned romp through the eccentricities of the upper classes, it’s a fun mystery with a nicely filthy mind.

The leads deliver to order in this flimsy but playful frolic. A tankful of banter keeps the engine ticking nicely.

Not one for cynics or bedwetters, if you’re after a ripping, roaring, thigh-slapping giant of a fairytale, Bryan Singer’s blockbuster panto will be right up your beanstalk.

Precision-built to make you chortle, M3GAN is a l0t of 4un. On the fr1ghts front, however, it’s basically a Furby.

Spearheaded by a strikingly self-assured turn from Elle Fanning, this ’60s-set coming-of-ager follows two teenage girls whose bond starts to crumble under the emotional and political pressures of adulthood.

A lavishly mounted re-telling that, for all its good intentions and visual wonders, can’t help seeming surplus to requirements.

A mix of the intimate and cosmic that shoots for the stars. You’ll float… and sometimes bump back to earth.

From the generic title to the formulaic plot (stolen plutonium, highest bidder etc.), you can imagine the rest. But director Michael Cuesta (Kill the Messenger) injects vitality where it’s needed.

Grungy, compact and delightfully violent, Dredd wants to hit you as hard as it can. The sequel may be the movie you really want, but for now, justice has been done.