While it's stronger on gunplay and horseplay than plot, this is a solid entry for BB fans.

Dark Fate gets more right than it gets wrong (just about, anyway), and there’s an undeniable thrill in seeing Hamilton and Schwarzenegger reunited onscreen for the first time in almost three decades. But this fourth attempt at crafting a worthy sequel to James Cameron’s peerless sci-fi double bill only just gets passing marks.

Curveballs are rare in this pop-umentary on Earth’s biggest boyband; but with lengthy gig clips, lots of cute mucking-about (segways, disguises, hiding in wheelie bins) and Harry’s shirt off within the first 10 minutes, Directioners won’t be disappointed.

As we watch Lee still encouraging ‘true believers’ well into his old age, it’s hard not to be moved.

Meandering like a jazz riff, Miles Ahead is a curio that doesn't quite come off. But credit Cheadle, both in front and behind camera, for refusing to play the easy notes.

His state of mind goes some way to explaining the something-missing air of his last film, but it inspires to see how deeply he cares about his craft.

Weighed down with daft new characters and an overstretched story, the prehistoric saga is looking a bit old. On the other hand, it still has Scrat –which is all any movie really needs…

Pixar falls back on the tried and tested in an entertaining caper that will be a surefire kid pleaser this summer. Old favourites are always welcome, but it would have been nice to see some more new ideas too.

Pioneer features underwater sequences so breathless they’ll thrill even James Cameron (director Erik Skjoldbjærg made the original Insomnia) but Petter’s truth-chasing is at times too frantic and melodramatic.

It’s predictable, politically incorrect and too long – but a handful of really big chuckles excuse most of the cop-outs. There’s a much edgier film in here somewhere, but this one will definitely do.

No prizes for guessing who ends up with whom, but the colourful retro designs and the leads’ sparkling chemistry help to Tipp-Ex over some of the predictability.

Though its influences (Badlands, early Coens) are writ large, and the denouement disappoints, the performances convince, the dialogue captivates and the sense of backwater boredom is overpowering.

The most inventive sequence has Larry and Teddy plunge into an MC Escher painting, an interlude so dazzling you can almost overlook the weeing monkey.

Justin Lin proves a safe pair of hands at the helm of the Enterprise. Powered by a spirited sense of adventure and a nice teamwork dynamic, it’s fun, but not essential, summer viewing.

A good-looking yet curiously tame adaptation of a saucy classic that showcases Pattinson's ambition if not his full abilities.

Family entertainment with death, limb-lopping and other horrors. If you go Into The Woods today, you’ll be surprised how faithful this is to the dark stage musical.

Despite Gwynnie and her lingerie-clad lap-dancing, this sober, issue-based dramedy is preachy and a tad soapy, rather than provocative. Fine acting, though.

Don't expect glamorous outlaws, sunny locales and exotic masterplans – this low-key thriller lifts the rusted lid off an all-too-real world of despairing criminality.

The Violators suffers from inevitable comparisons to Andrea Arnold’s Fish Tank, but is anchored by McQueen’s terrific performance in her feature debut.

Get your ass to Mars? A handsome new sci-fi adventure that feels rather familiar. Enjoyable enough while it lasts, John Carter is big on ambition and disappointingly short on action.

Despite risking life and sanity, these American Dreamers are surprisingly cheerful, making for a light-hearted study of eccentric hobbyists.

Writer/director Rachel Lang’s film lacks cumulative dramatic punch, its appeal rooted mainly in its easy humour.

More a "King's Speech" footnote than a sequel, Park only flies when Bill's centre stage. We're curious to see how it fares against "Lincoln," the award season's other presidential hopeful.

A relic of the ’90s in more ways than one, Sonic offers frenetic fun for younger viewers, and in Jim Carrey’s preposterous Robotnik an enjoyable shot of nostalgia for adults.

An Arab Spring-y allegory with kissing cousins and a divine countryside setting, Kevin Macdonald’s fourth narrative film is an awkward oddity, as uncomfortable in its own skin as its protagonist.

Jarrold struggles to sweep things along with quite enough vigour – budget constraints crowd the edge of the frame – but Gadon is intoxicating as Elizabeth.

Ole Bornedal's slick religious horror bears all the hallmarks of Sam Raimi's Ghost House Pictures (the Grudge remake, Drag Me To Hell) – except the gore.

With a large supporting cast and rapid gag-rate, ingredients are generous. But with no real plot to bind them, the pile-up of chaotic chases, repeat-on you leek puns and noisy dust-ups gradually kills the appetite.