Fast, furious and based on fact, this pleasingly lateral adaptation embellishes a console-jockey favourite with familiar sports-movie archetypes.

Just as bloody yet much more conventional, 300 #2 offers splashy thrills aplenty but fails to make a watertight case for its own existence. Green, however, ensures it stays afloat.

Luc Besson's clunky, space-bound actioner apes '80s B-flick excess but skimps on all the good parts. Fans of really bad science and pixelated CGI won't be disappointed, though.

Stallone's shtick keeps it from collapsing into farce but, overall, Bullet To The Head is too derivative and disposable to warrant serious attention.

Guilty of being slavishly loyal, Taylor’s film never quite translates into the cinematic equivalent of Hawkins’ page-turner. Blunt, though, is excellent.

The film flirts with near-offensive gags and attitudes, but there’s inventive use of forced perspective, even if the focus should be more on Diane changing hers.

These truly are dark and terrible times if we are forced to accept the elitist problems of an Ivy League college admissions officer as shameless fodder for a romcom.

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.

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

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.

The well-worn platitudes and pained moralising are a bit much, but the music is tremendous.

Godzilla: King Of The Monsters improves on its predecessor in terms of the kaiju carnage, but still can’t quite make you care about the humans underfoot.

Family-friendly, spooky fun with surprising emotional heft and an ensemble cast clearly having a ball.

Luchini’s excellent, but this is guilty of gross tonal uncertainty.

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.

It doesn’t exactly soar and the lack of levity grates, yet the Spooks movie still delivers some appealingly old-school mayhem.

Despite the well-honed wizarding credentials of Yates and co-scripters Steve Kloves and Rowling, the series still can’t seem to settle on a hero. Let’s hope that the prospective next two helpings can unravel whether it’s Newt’s beast-fuelled journey or Dumbledore’s quest with which we’re hitching a ride.

Returning screenwriters Jon and Erich Hoeber have penned a surplus of minor melees and major set-pieces.

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.

Given the weighty themes of Moby Dick, In The Heart Of The Sea doesn't have a lot going on behind the outward action. The composite parts are in fine working order; it's the sum that's slightly lacking.

Meddle with sobriety and project it on a nightclub wall and maybe it works. As a film, not so much.

With few words and the odd squint, Cruise hard boils all of his charisma into a clenched fist, but is more than happy to let a dynamic Smulders take the lead in many scenes.

A neat mash-up of high-school comedy and horror tropes. Pity it flounders in the final third, though.

Fans, naturally, might simply want what they came for, and leave licking wounds. But they should be partially sated by some grisly kills and nods to Carpenter classics Christine and The Thing. And besides, let’s not fool ourselves that it really ends here. Friday the 13th: The Final Chapter was followed a year later by Friday the 13th: A New Beginning.

Ravishingly pretty but low-powered, this cute and earnest fairy tale has a whole lot of homage, but not enough heart.

Slasher smarts with guts and heart. Town is no Scream but it’s still one of the most entertaining, enterprising remakes in recent memory.

Don’t be put off by the long wait. This is a little slimline but a lot of fun.

In later scenes, Guadagnino blurs the boundaries of the various levels of reality on show, which becomes alienating. He may have been inspired by Fellini’s 8½, but this comes across more like sub-David Lynch weirdness.