Far too many characters are vying for screen time in this predictably plotted sequel, but thankfully a weird, wild, and utterly brilliant central performance from Jim Carrey makes this a fun watch. A fine, wheel-turning instalment in a continually burgeoning franchise that will no doubt continue for many years to come.

Entertaining enough but inessential, Kingdom offers spectacle and thrills but lacks the ambition, smarts, and gravity of its immediate predecessors.

Creepy, jumpy, if somewhat samey, it's set above the spooker norm by its strong visuals, grief-steeped period setting and lingering ambiguity.

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

Fresh cast, fresh ideas and full-on action gives Taylor’s reboot momentum, even if an overloaded script threatens to topple it at times. Doesn’t touch Cameron’s two movies, of course.

Ritchie makes a solid return to his wheelhouse with a crime yarn that turns the air so blue you can swim in it.

Watching these famous monsters share the screen for the first time since 1963’s King Kong Vs. Godzilla, in a series of expertly choreographed battles, packs real wallop, even if you can’t help wishing that screen was 30ft high at your local cinema.

There’s no questioning Skarsgård’s commitment to his character’s descent into depravity, while the gifted Goth is fearlessly uninhibited. But just because Infinity Pool looks good on the surface, that doesn’t mean it has hidden depths.

Disposable, overly long fun best enjoyed with BFFs and a bevvie.

Two immensely enjoyable central performances and some of the best race sequences yet filmed fuel an otherwise standard sports movie.

A valiant effort that never quite scales the dizzy emotional heights required, running out of oxygen in the final act. Visually, though, it’s stunning.

What could have been an exciting experiment in telling a new tale in a beloved universe in a very different way feels heavily compromised.

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.

Though closer in quality to Morbius than Venom, Kraven is far from a catastrophe and serves up a decent helping of bloodthirsty, globe-trotting action. Taylor-Johnson makes a muscular if self-satisfied protagonist in a film that would have been better off standing on its own shoeless feet than cravenly (or should that be, 'kravenly') cleaving itself to its comic book brethren.

A little more anger would not have gone amiss in this well-acted but strangely remote slice of Oscar bait

Despite Five Nights at Freddy's 2 slightly bettering its predecessor in terms of scares and impressive animatronics, the sequel fails to understand that less is more. By stuffing as many storylines and characters as possible into its relatively brief runtime, the sequel feels messy and inconclusive, leaving FNaF fans shortchanged.

Not disastrous but disappointing all the same, The Conjuring: Late Rites commits the ultimate sin of not quite being bold or memorable enough for a final chapter.

In a summer hardly starved of comic-book properties, this redundant extension of a series that ran out of gas a decade ago doesn't need a neuralyzer to be forgettable.

An uninspired and unnecessary sequel that won’t leave you spellbound. There’s neither enough Maleficent or genuine magic to make it worth a revisit.

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.

Frustratingly, [Marcel's] movie maintains the issues of the first two films – ropey effects, muddy night-time action scenes, a determination to be family friendly at all times – and then undoes any goodwill its more successful components have inspired by including a mid-credits sting that renders the previous 109 minutes obsolete.

A serious subject receives a simplistic treatment in an ill-conceived thriller in which the emotive (and timely) issue of honour killings becomes just another plot device.

As implausible as the stars' gleaming choppers.

Sophie Lellouche’s slick debut is chock-full of Woody-com quotes and references, yet it remains an inconsequential, undernourished trifle that does sod-all with its potential.

The moments where you feel the cast are off-script and riffing are fun if not actually funny, but the most horrific thing on offer here is misogyny.

The strange thing about Grimsby is that it works much better as a Bond-spoofing actioner than it does as a politically incorrect rib-tickler.

Completely stripping the bold premise back, Nightbitch is one of the year's most disappointing releases, wasting the talents of the usually brilliant Amy Adams. This dark thriller is all bark and no bite.

Liam Neeson cuts a rather sorry figure in what’s less a final flourish for the series than a prolonged death rattle.