Anthony Mackie's Captain America earns his Stars and Stripes in this uneven, un-MCU thriller. Sam Wilson and an always-excellent Harrison Ford drag Brave New World into unfamiliar narrative territory before it eventually succumbs to familiar Marvel failings.

He might have lost his edge, but Parker hasn’t mellowed in his old age. A sunny, silly, violent revenger that puts Statham in good company.

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.

Somewhat impressively, it’s even stupider than this outlandish synopsis sounds, with action that makes the F&F movies look grounded, “hip” dialogue that induces spasms of embarrassment and a shockingly casual disregard for human life.

A murky mishmash of a movie, with the lightest smattering of glorious moments.

It’s a premise that sounds like the silliest of celebrity vanity but is, in fact, presented as an endearing portrayal of Rastafari culture, spiritual exploration and Snoop’s own past, present and future.

Though it’s good to see Michelle Pfeiffer married to the mob again, she alone can’t redeem a lumbering farce that takes an unpleasantly sadistic glee in violence, murder and intimidation.

Coasting on charismatic performances and a quality crew, Gosling’s debut proves two things: screenwriting is hard, and stylish and stylised are very different things.

The fairytale-like teaser trailer for this latest interpretation of The Haunting was so seductively eerie that you couldn't be blamed for becoming excited. Alas, the movie itself doesn't deliver on this promise: it's neither eerie nor seductive - in fact, it's a sore disappointment.

Packed with fine performances, this attack on suburban conformity is surprising, darkly hilarious and cleverly leaves the insanity judgement to its audience.

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.

A solid performance by Quasem and an impressively gruesome early leg-munch aren’t enough to earn Something in the Water anything close to a recommendation. Avoid like a fin in a bay.

A good-looking yet curiously tame adaptation of a saucy classic that showcases Pattinson's ambition if not his full abilities.

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.

Green delivers a smart, sturdy second chapter. Low consequence, perhaps, but still highly entertaining.

The cast do decent work, but Clooney’s ersatz Fargo misses the mark. A Coen pastiche rather than the real deal.

Harper’s well-appointed sequel has strong performances even if the Woman becomes a supporting character in her own tale.

This is a tonal misfire, its characters cut down by a blitzkrieg of whip pans, CGI and thunderous percussion. And with Ritchie again rummaging in his increasingly threadbare bag of tricks, the result is a movie more jaundiced than jaunty.

John Cena’s a joy to watch, but Paul Feig’s latest isn’t quite on the money.

Its overview of the baby experience is obscured by a family-values lens – no single/same-sex parents - resulting in an awful ensemble comedy to complete that "Valentine's Day" / "New Year's Eve" box-set, complete with sexist clichés.

Fast, fierce, fuzzy: nicely unruly, naggingly undisciplined, Johnson’s live-action DC bow strains to entertain but struggles to breathe amid the noise.

“Rock solid,” is Bruce Willis’ nod-wink appraisal of an attack strategy in G.I. Joe: Retaliation. The film’s nowhere near as sturdy, trundling out middling action and nonsensical plotting.

Like a meal made entirely of chillies, Machete Mk II is spicy to start with, then unpleasant, then numbing - before it all starts to repeat.

Misguided in the extreme. A scene in which Kitsch and co aim blindly for the broadest of targets – and miss by miles – proves painfully apt.

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.

James DeMonaco’s blood-splattered thriller begins well before expiring slowly from multiple improbabilities.

Most ‘one crazy night’ movies (from After Hours to Superbad) thrive on a sense of escalation, but Stand Up Guys only seems to lower the stakes as it stumbles tediously on.

It's not quite "Before Sunrise" with mud and portaloos then, but warm vibes, buzzy crowd scenes and the two leads' enthusiasm will pull you through to the morning after.