You’ll flinch, yes, but you’ll forget it just as quickly.

The excessive CGI can be distracting, some performances veer towards caricature, but this is still a big-hearted take on London’s classic.

Wahlberg finds his most interesting role since The Departed in a film that’s heavy on atmosphere and suspense but shy of a full deck when it comes to characterisation.

[A] highly idiosyncratic semi-musical.

Ultimately, though, the combination of handsome visuals and assemblage of sketchy moments leave it feeling more like a museum piece, offering impressions over a gratifying narrative experience.

As crude as the oil it revolves around, Deepwater provides combustible entertainment without leaving the shallows.

The boundless inventiveness Nintendo is known for never quite bleeds through as you would expect, especially as an adaptation of one of Mario's most beloved 3D platformers. The Super Mario Galaxy Movie, then, shoots for the stars and ultimately comes up just short.

Not quite up there with "Tangled," but a solid addition to the canon. Catchy tunes will have you humming, but the hunt for the next "The Little Mermaid" continues...

It’s the most staggeringly detailed and impressively realised sci-fi location since James Cameron welcomed audiences to Pandora, and one of the few recent blockbusters to benefit from the 3D treatment.

One of the strangest mainstream releases of recent times, Dark Shadows' demented gothic melodrama/fish-out-of-water comedy/creature feature feels like you've slipped into a Burton fever-dream.

Packed tight, Jacobs’ straightforward sequel may boast less up top than the Soderbergh-directed original, but still bulges where it counts.

Better than The Conjuring 2 and most of the Annabelles, this latest entry gives some zip to a stumbling franchise.

If the storytelling and English-language voice work are a bit functional, the visuals dazzle.

CGI/saga-building issues aside, the MCU’s fun sci-fi getaway stretches Ant-Man and answers any Multiverse niggles. Majors’ menace focuses the attention fiercely.

A fashion world Who's Who offer accolades, while Vreeland's vulnerabilities are revealed in interviews telling how, ridiculed by her socialite mother as ugly, she invented herself on her own terms.

Longer than OHF and just as daft, WHD makes for a more entertaining watch before succumbing to the same bombastic overkill.

At two hours and change Hunt definitely outstays its welcome, while it’s disappointing Lee has room for only two notable female characters. If you are up for some robust, relentless, blood-splattered mayhem, though, it’s well worth hunting down when it makes its way into cinemas.

C+ gags and D- supporting characters sabotage the final grade, but a perma-livid Cube is the star pupil and the brutal playground punch-up doesn’t disappoint.

Vikander packs a punch but this Tomb Raider is a long way off the Holy Grail of the first three Indy movies.

It’s a step up from the garbled silliness of Wolverine’s first solo outing. Unlike Origins, the storytelling is more sharply focused here, ignited by flashes of stylised superheroism.

There’s Fassbender’s charisma, an unhinged Sean Harris and Tom Rowland music.

Fascinating story, flawed telling.

It’s too raw and difficult for one target audience, but the erratic tone might leave sick puppies equally nonplussed. Gunn’s jibes at Bible-bashers and gun-nuts are as blunt as Frank’s attacks, and the clash of kooky comedy and violence is as awkward as it is ugly.

Like the inscription on her daddy’s sword, the new Mulan is loyal, brave and true… but not quite as funny or dramatic as it might have been.

Scorch Trials ambitiously opens up its world with mixed results: gripping action, so-so script.

As a comedy creation, David Brent is still a masterwork, and the film works best when the pathos hits as hard as the punchlines. But Life on the Road should probably be the leaving party we all thought had been thrown a few times already.

Director Isabelle Doval’s relentlessly upbeat take is warm and fluffy, but leaves the sugary sentiments for the tear-jerking final reel.

The farce is infectiously fun and visually joyous.