The car-nage that ensues is confined to a maze of underground tunnels, too dark and claustrophobic a setting to appreciate stunt scenes already made hard to follow by the epileptic editing.

Brown and the beast strike sparks as Fresnadillo’s initially lukewarm adventure gradually heats up.

Dakota Johnson is a revelation in an adaptation that’s better than it should have been. But with the sex scenes and the drama lacking the required heat, it’s ultimately unsatisfying.

A bloody fun second round, Mortal Kombat 2 creatively resets the series for the better. Karl Urban adds irreverent energy as a post-Deadpool Johnny Cage, while the all-important fights mostly deliver the goods. A step up from 2021’s bizarrely tournament-less Mortal Kombat that lands some killer blows, but it’s far from a flawless victory.

Just as daft as it sounds but not half as bad, this Alpine splatter-fest works surprisingly well thanks to the old-school FX, the creative death scenes, and a vein of self-awareness that never gets too smug.

An old-fashioned romp through the eccentricities of the upper classes, it’s a fun mystery with a nicely filthy mind.

Living up to its billing as the most ridiculous film of the summer, The Meg is one to laugh at rather than with. Instantly forgettable, but undeniably fun.

Part courtroom movie, part behind-bars romance, Folie à Deux is an unconventional musical sequel that fails to hit the high notes.

Katharine Isabelle is phenomenal in one of the most original and politically engaged horrors of recent years, even if the second half isn’t a patch on the first.

A taut, tense yet hugely indebted debut, Ruairí Robinson’s survival horror manages to break free from its low-budget limitations but is hamstrung by its own love of the genre.

IF is obviously aiming to be an E.T.-style family classic about kids and creatures on a healing journey. But its sticky sentimentality keeps it mawkish rather than magical.

Entwining Irish folklore, dead-parent issues, eco-anxiety, and reality-show commentary, The Watched is an acceptable mid-tier horror. It'll be far more interesting to see what Shyamalan does next.

Taking a weird swerve into rom-zom-com, the third [REC] shaky-horror ends up pulled apart by its own genre mutations.

Like all of Bay’s work, it’s over-the-top, brash and exhausting to watch. But like the lifestyle its characters aspire to, there’s an allure too.

There’s a lack of genuine emotional heft, not helped by some clunky dialogue (lines like "we are literally living on borrowed time"). But what the film really misses, amid several ear-splitting, CG-heavy alien-attack set-pieces, is humour.

From the generic title to the formulaic plot (stolen plutonium, highest bidder etc.), you can imagine the rest. But director Michael Cuesta (Kill the Messenger) injects vitality where it’s needed.

Classy but curiously empty, The Son may be a spiritual sequel to The Father, but it’s not its equal.

[A] highly idiosyncratic semi-musical.

With plenty of potential and a door swung wide open for a future sequel, Uncharted makes a decent play for filling an Indy-shaped hole in the movie market right now. But the series will need to beef up its reserves of charm and swagger to be in the same league as cinema’s favorite archaeologist.

It’s a big old mess of a movie, in other words: flawed and (sometimes) fun.

Justice League’s most significant shortcoming is how forgettable it all is. There’s barely a moment that sticks, not a single sequence to rival the standout superhero set-pieces of recent years.

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.

Jared Hess's indie sensibilities help to elevate a video game adaptation that is boosted further by Jack Black's irrepressible star turn. The special effects could be better, as could the female roles. But this remains an entertaining fantasy adventure that makes light work of what might appear to be unpromising source material.

A grindhouse mix of "Wild Things," "Killer Joe" and "Streetcar Named Desire," The Paperboy won’t be for all. But it boasts a soupy atmosphere and Kidman’s best turn for years.

"What are you going to do?" wails Maggie. "What I do best!" growls Liam. Yet while it's fun to watch him take out the Eurotrash, we've seen him do it better.

It’s all still loose breakin’ cars and looser lovin’ women; for petrol-headed single teens only, eager for (surely) the last bit of mileage to be milked from the concept.

For the most part a surprisingly fun, bloody take on Jane Austen’s classic – but it does turn stale as the final reckoning approaches.

Lowden and Findlay excel in their roles, but Mark Gill’s Moz-movie needed more: both more music and more “people who are young and alive”.