Reducing promising material to movie-of-the-week status, Aftermath is well meaning, but anonymously made.

It’s a crisp, cold little thriller with a real sense of the noose tightening around otherwise unremarkable lives.

Kirk, who wed Fischer in 2010, perfectly captures her all-thumbs charm, and ubiquitous character actor Messina steps into the lead with ease, showing off some impressive mime skills to boot.

A damp-squib horror with zero thrills. Russell and Condon deserve much better.

Scorch Trials ambitiously opens up its world with mixed results: gripping action, so-so script.

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.

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

It never quite comes alive, but what disappoints most is the acting: McGregor coasts on his natural charm, but Jennifer Connelly (as Levov’s trophy wife) and Dakota Fanning (as his unruly daughter) are wildly OTT.

Capturing Marley’s essence on screen proves an impossible task in a biopic that veers towards hagiography.

This latest Millennium movie smooths out the series’ earlier quirks. But there’s action galore and Foy makes a poised, dangerous heroine.

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.

Entertaining in small doses, but gruelling at two hours, Wiseman's derivative, spec-hackular upgrade bins the twisted wit and meaty thrills of the Arnie original.

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

Marking Harlin’s trumpeted return to a genre in which he established himself as something of a journeyman (A Nightmare on Elm Street 4: The Dream Master, Exorcist: The Beginning), The Strangers: Chapter 1 makes decent use of its contained setting – the house itself, to wheel out the cliché, is its own character – but can’t cut through the sense of fatigue.

A competent if occasionally clunky biopic, enlivened by a superb Marisa Abela, who truly inhabits Winehouse and brings those songs to life.

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

Despite mostly sparky cast-work, the Phoenix never quite rises as hoped in Kinberg’s affectionate but often perfunctory X-Men send-off.

A huge misfire that even the most hardcore X-Men fans will find hard to warm to. Avoid, avoid.

Shyamalan concludes his secret trilogy with a film easier to admire than love. McAvoy is terrific again, but Glass doesn’t quite live up to the lofty heights of Unbreakable and Split.

McKinnon, Aniston and Jillian Bell's smiley pimp run away with the show, and as the party wears on, it becomes increasingly, thrillingly surreal.

A deliciously silly, spoofy tale of the 60s battle for breakfast domination, filled with high-fructose fun.

A competent rather than classic follow-up. If the action feels generic at times, the addition of Watts, more Winslet and the strength of Woodley are worth watching.

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

Sixteen years on from the Shia LaBeouf original, though, the many brains behind this franchise have still to figure out how to satisfy an audience without leaving it bludgeoned.

Vaughn and Wilson. eight years on from "Wedding Crashers," the pair successfully rekindle their irascible shtick.

The best bits of Kingdom come when Jules Verne-esque technology like Manta’s Octobots collides with Atlantis’ psychedelic bioluminescence, a colourful contrast that gets to the heart of this watery franchise’s trippy appeal.

Writer/director Christopher Payne paints a credible portrait of life as a professional hoofer. But the leads struggle with an undernourished script, and there’s a cheapo televisual vibe throughout.

Massively unlikely, but compelling to the last, it makes a decent fist of conveying the strength of internet attachments, even if filtering the unfolding drama through endless computer screens becomes a well-worn device.