Within the first half-hour, all suspense has been punctured. Not only do you find out who the two men are, and why they and their jiggly testicles are galloping through New York, but you learn exactly who's chasing them and why. Worse still, like a flabby episode of Columbo, you get to know whodunnit right at the start of the film.

It’s no slam dunk for King James in a reprise that shows you can only spread Space Jam so far.

Set pieces play saviour in Netflix and Chris Hemworth's generic kidnap thriller.

“Prepare for Gar-mageddon!” Or worse: more Smurfs films.

Inventive camerawork and a creepy (crawly) monster can’t save this messy supernatural horror.

Despite some affecting moments, the lumbering Parkland feels more like a well-researched magazine feature than an involving drama. As Billy Bob Thornton’s lawman says: “This was not supposed to happen.”

What [Bekmambetov] doesn't do is offer us any respite from his 3D CGI barrage, an assault on the senses that makes the bullet John Wilkes Booth fired into the real Abe's noggin seem calming by comparison.

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

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.

A lot of talented people have done their utmost to make Hooper’s vision succeed. Sadly, it doesn’t.

Rather than getting us on the ropes and landing some telling blows, Grudge Match keeps its distance and tosses meek jabs. Cheap sentimentality can’t disguise the crashing cynicism on display.

Neither a satisfying treaty on diversity and 'race' wars, nor a fulfilling fantasy, it derails at the end of the first act with a confusing moment of anti-heroism, and never recovers.

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.

Some entertaining bicker-banter, but you may feel like Venom craving human heads: undernourished and angsty for what could’ve been.

Jackass Forever has laughs and thrills and will goose your nostalgia, but it’s like a modern-day Rolling Stones gig – the hits are replayed but satisfaction is elusive.

Immaculately poised but almost completely pointless, it moves from chin-strokingly pretentious to profoundly depressing.

Justin Timberlake and Ben Affleck give their best poker faces but ultimately fail to convince you to gamble your cash away on this limp, unoriginal story of a man out of his depth.

Undeservedly controversial comedy lacks both laughs and nuance. The best bit they could come up with is Seth Rogen shoving a rocket up his bum.

A semi-successful slice of Southern gothic panto. 


A so-so Christmas romance undercut by some baffling choices, musically and narratively. A wasted opportunity.

Too witless to be a decent comedy, too charmless to call itself a parody, this messy adap of Shannon Hale’s novel groans under the weight of a predictable plot and explosive overacting, although Bret McKenzie wrestling awful dialogue at least brings a touch of adorability as the resort’s elfin stable lad.

By the numbers even by Sparks’ standards.

As noble as his ideals are, watching a series of interminably lengthy conversations inside a car makes for stultifying viewing. And the abrupt ending, which highlights the fictional nature of the whole enterprise, is mystifying.

Maudlin, glum and distinctly cheap-looking, Angel brings the curtain down on a trilogy that should have never got this far.

Mostly, this is empty, ugly and pretentious.

An outdated oddity.

A handful of sparky leads can’t help this superhero reboot find an appropriate tone. No no, Power Rangers.

True, Hendricks has fun with her role as a good girl with a bad streak, while Shauna Cross and Johnny Rosenthal’s script fires off a few zingers. But with Thornton surprisingly disengaged and the robbery plot formulaic, it’s a limp dick of a sequel.