Too stodgy for B-movie suspense, too silly to shock, too sexist to stomach, Diesel’s return misfires.

Everybody does indeed have a plan in Ana Piterbarg’s ponderous Argentine noir – problem is, they’re all terrible.

There’s an emotional vacuum at its centre but Welcome To The Punch is an adrenalin shot to the heart of the Brit-crime genre.

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

You'd think Greta Gerwig's bones were hurting, so achingly hip is this irritating New York indie.

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

An only moderately entertaining threequel that assumes a double dose of Carell will make up for missing Minions. It doesn’t.

Some entertaining bicker-banter, but you may feel like Venom craving human heads: undernourished and angsty for what could’ve been.

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

Taking Don’t Look Now as a reference point, Gary Sinyor’s film is turgid, flabby and – despite some committed performances and great ideas – toothless, with neither tension nor bite.

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

Never sure if it wants to be a hard-edged character drama or pacy action-thriller, Son Of A Gun has plenty to admire between the tonal wobbles.

A rigorous and handsome drama, finely hewn by Costner and his cast, this is an absorbing ride into the Old West.

The predictable plot gets an enjoyably venomous boost from Jemaine Clement’s revenge-obsessed cockatoo Nigel.

A playful, punchy tale that spills the beans about those Babies. Zach Galafianakis’ tantrum-prone tycoon transfixes.

To its credit, Spike Lee’s remake isn’t a slavish imitation. On the other hand, its grit is a grey substitute for the original’s vision and verve. Disappointing.

Sometimes bad, never boring and, at the last, completely bonkers, it’s proof at least that you can freeze cheese.

The drugs don’t work – but thankfully Aniston does – in this slight but sly portrait of pain-meds hell, which wallows in self-pity when it should be grabbing our sympathy.

Sharply observed with a top-notch cast and a pleasing old-school vibe, The Instigators is tremendously entertaining.

Earnest intentions may be behind this bawdy yet heartfelt sport-quel, but it’s a largely unnecessary rematch.

What Black’s movie really has going for it is pace. It starts with a crash, followed swiftly by a bang and vast swathes of wallop. The relentlessness doesn’t allow you any time to catch a yawn, but it’s also not too conducive to tension or suspense.

A serviceable blockbuster falls short of being truly fun by swapping the Grid for a real-world setting. Despite a good lead performance from Greta Lee and a great score, Ares lacks the charm and silliness of its Tron predecessors after one upgrade too many.

Short, sweet and hilariously unpleasant, Bride Of Chucky packs in the blood and jokes tighter than Jennifer Tilly in a black rubber dress. Both are well worth watching. Don't bother to see the first three Chucky films - this comic horror stands alone.

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

An absorbing thriller that favours vivid characters, profound ideas and Old Testament morals over propulsive plotting and set-pieces. With lots of blood.

A brutal fusion of angst and action, this mini-epic gives the sword-and-sorcery genre a bleak, brusque new life. Watch it for some terrific limbchopping and a mighty turn by James Purefoy.

The ever-watchable Idris Elba and a handful of muscular action sequences are scuppered by a flaky-pastry plot which badly misjudges subject matter warranting more considered exploration.

Fun when Jones is around, dull when he's not, it's all just a little bit of history repeating.