As much as Nicholas Jarecki’s debut feature simmers, it never quite boils.

Jordan’s apparent resolve to make an anti-Twilight unfortunately results in a movie that, if not for a fistful of moments of shock, style and excess, would be as drained of colour and tension as Ronan’s victims are of hemoglobin.

For all its attempts to expand the original’s ensemble and embellish its themes, Dory is cod in batter beside Nemo’s smoked salmon. But still tasty.

Ripples in time create holes in the plot, but Reynolds and his younger self patch over the missing piece with incredibly watchable charisma.

As glossy as any of the surfaces that Alice polishes so diligently each day, it’s a feminist film that asks viewers to evaluate their own social complicity in oppression, while not skimping on really great costumes, gorgeous cars or horny sex scenes.

Choosing quantity over quality, intensity over tension and big-screen thrills over low-fi shocks – this is probably what the zombie apocalypse will actually look like.

Something of a companion piece to the superior Finding Nemo, this is one of Pixar’s weaker efforts but still worth catching.

There’s creepy dolls, cameras tipped on their side, blasts of white noise and a horny teenage Scooby gang helping Jared Harris’ Oxford prof stir up a poltergeist in the mind of a moody emo girl (Olivia Cooke).

Ellis has a real flair for action – the assassination scene is heart-stopping – but patchy accents, strange pacing and an overstretched budget nearly scupper proceedings.

Looser, more conventional, and highly dependent on the enjoyably rambling bro-banter of NickKurtDale Inc, Horrible Bosses 2 is a mostly-cosy caper that gives off rather less blackly comic energy than its predecessor.

This (will’o-the-)wisp of a film is a beauty depending on the eye of the beholder; frustratingly slender yet with moments of profundity.

Sagnier is appealing in her first real romantic role and there’s Gallic charm galore.

The result is a love letter to the giallo genre spelled out in cut-up ransom-note writing – striking, but impossible to read.

Binoche is, as always, superb, but Malgorzata Szumowska's film won't tell you much about the oldest profession that you didn't already know – and Binoche's marital clashes feel like a standard feminist tract circa 1975.

The World Is Not Enough is, without a doubt, a solidly entertaining chapter in the Bond franchise's chequered history. But while Apted fiddles with the format, this is far from an overhaul of the blueprint, and so lacks the whiff of freshness long-time fans may have been sniffing for.

First-time writer/director Ritesh Batra deserves credit for mining gently captivating drama from a pitch that could have just ended with passive-aggressive Post-its left on the office fridge.

Drags in places and not always certain of its tone but with a sprinkling of eye-bulging visuals that wink to Spielberg’s heyday. Give it a shot.

Sex, violence and surgery: the king of body horror is back, but the script could do with a scalpel.

A solid enough war flick, but Spielberg doesn’t have too much to worry about yet.

If you loved Pitch Perfect you’ll find plenty to enjoy here because it’s pretty much exactly the same film, but there’s enough wit and warmth that it feels like a worthwhile sequel.

Too many characters and callbacks plus a formulaic plot means Frozen Empire doesn’t touch the original movies, but it’s a likeable-enough brand extension.

Lang makes an intimidating antagonist, but a silly final act ends things on a sour note

Assured if not inspired, Legacy keeps the Bourne engine ticking over without reaching top gear. The action's accomplished and Renner's fine. Without Matt Damon, however, it feels like a placeholder.

Rob Lowe provides colour as a Southern-accented sleazeball, while the Free Willy finale has enough vehicular mayhem to excuse its dodgy FX.

While some viewers may want more explosions and twists, there's no denying Michael B. Jordan makes for a riveting action hero in Without Remorse

Another enjoyable yet flawed addition to Disney’s live-action catalog, with stunning visuals that capture the magic of the original but ultimately fail to keep up the pace.

Bright, punchy and earnest, Webb’s affable sequel is tough to dislike despite its tonal whiplash and clumsy script, which is redeemed by Garfield, Stone and DeHaan’s powerhouse trio.

Loyal to the novel, but welcoming enough for newbies, Divergent does a decent if not jawdropping job of bringing its dystopian world to life.