Snyder’s sci-fi epic stumbles towards the finish line with an underwhelming Part Two that feels more like a Part One-And-A-Half.

Lopez takes admirable care of the story’s human elements, seizing opportunities to find emotion amid the weapons-grade pyrotechnics of the chaotic action sequences. But the effective (if minimal) world-building really just masks a thin plot, hammy characters, and the kind of questionable logic leaps you so often find in this sort of big, silly space movie.

The leads are fine, but the movie's about as fun as summer school.

Greater female input might have alleviated the film’s tiresome chauvinism.

Good performances, but it's difficult to give two hoots about Close's passion project when the story remains as pinched and hermetic as poor little Albert Nobbs himself.

Pete Davidson lacks the charm to make an insufferable protagonist likeable.

Philippe Le Guay’s comedy promises an intellectual satire on how actors mirror their characters. Yet it’s compromised by indulgent pacing and ill-advised slapstick – leaving a cosy, middlebrow showcase for its stars to practise theatrical verse and fall off their bikes.

Ponderous, pretentious and, most damning of all, just not much fun.

Giant brains with teeth, suburban mutant zombies, more bullets than a John Woo film festival, and hot girls in skin-tight S&M outfits pummelling each other to a deafening dubstep soundtrack. If you're looking for brainless, blood-guzzling carnage, you've found it.

Banal, blundering and at times downright ludicrous, 360 is a full-circle misfire that Meirelles' lively images can't salvage.

Star Trek: Section 31 doesn't know what it wants to be. Is it a serious exploration of the criminal underbelly, a camp throwback to the noughties, or a tonally off combination of the two? Whatever it is, it doesn't work half as well as it should.

The Mortal Kombat movie excels when it lets the fighting do the talking. The rest of the time, it simply falls flat.

Tobin Bell’s comeback may please some, but it’s not a sufficient X-cuse to see Saw resuscitated.

3D has been kind to teen dance flicks and Step Up 4's better set-pieces take full advantage. Shame the movie's other attempts to tango with the zeitgeist are rather more flat-footed.

There are some decent-enough scares weaved in, including a powerful cold open and a pull-string set piece. But for a film about the power of imagination, it’s frustrating how little it trusts the audience to use its own. As such, there’s no real sense of dread or suspense.

A romcom that fumbles for heart in the gutter, and finds only glib gags.

The Nun 2 feels like an unnecessary sequel to a hoary offshoot that was hardly essential in the first place.

The Love Punch makes a virtue of its leads’ considerable charm and gorgeous French locations but is tonally wonky, comedically creaky and confuses light-as-a-soufflé with just plain silly.

Most of the gags fall flatter than a Knoxville belly-flop.

A western as inept as it is preposterous.

Sparkle isn't "Dreamgirls" – but fans of schmaltzy showbiz fairytales should enjoy it.

The cast’s likeable work falls right through the script holes.

While the film lacks Christina Applegate’s razor-sharp delivery (though she gets a LOL-worthy cameo) and most of the plot doesn’t make sense, the older ladies warrant a Bad Grans spin-off.

First too slow, then too silly, Vaughn’s well-cast but wayward romp fires off half-baked ideas without the focus needed to make them stick.

The action’s passable and Gillan makes a decent fist of an underwritten character. Otherwise, this Jumanji makeover’s a losing game.

By now you know exactly what to expect from a Transformers film: undeniably epic action spectacle at the cost of character, logic or genuine drama. Predictably formulaic.

This furiously bizarre follow-up deserves full marks for throw-everything-at-the-screen entertainment value, but none for execution.

Even the film’s key source of charm, its heartfelt allegory about tolerance, becomes a flaw when rare flashes of anarchy (notably a tribe of crazed rodents) are eclipsed by over earnestness.