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.