As in director Alexandre Aja’s Horns, the action alternates reality/fantasy to middling effect.

A fun if sporadically schizoid return to one of the brighter, brasher comic-bookers of recent years.

Francesca Gregorini’s film stands or falls on a central mystery as silly as it is surreal. Fair play to Gregorini, though, for avoiding the temptation to deliver an outré slice of suburban Gothic; by framing events as melodrama, she can better examine themes of grief and motherhood.

While it offers spectacular CGI devastation and a chiselled hero, Pompeii is so soulless and empty that you won’t shed any tears when the ‘cano blows its top.

Classy work from director and cast, but an anti-climactic second half doesn’t quite knit together the incident and intrigue.

As sci-fi, it feels like a professionally produced hybrid that lacks its own identity. As a romance, it never fully earns your investment.

Rob Lowe provides colour as a Southern-accented sleazeball, while the Free Willy finale has enough vehicular mayhem to excuse its dodgy FX.

Like its title character, Chappie is stunning to behold and easy to like, but it’s still some way from fully developed.

Perfectly respectable, but it won’t linger in the memory like Luhrmann’s.

There’s creepy dolls, cameras tipped on their side, blasts of white noise and a horny teenage Scooby gang helping Jared Harris’ Oxford prof stir up a poltergeist in the mind of a moody emo girl (Olivia Cooke).

Murphy consolidates his comeback with an engaging performance in an often thrilling thriller. Metro mixes high-quality stunts and slick dialogue with enough menace to keep the audience nibbling its cuticles until the closing credits. Welcome back, Edward.

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.

Typified by Penn's blustery performance, Gangster Squad is sleek, stylish but superficial. Easy on the eye, even easier on the brain, it doesn't last long in the memory.

Aside from the usual self-slamming doors and flying bodies, there are enough creepy kids and hiding knives to distract from a plot that's increasingly mobile yet running on the spot.

The result? Not so much "World War Z" as World War Zzzz.

This voiceover is one of many perplexing elements in this ridiculously pumped-up military recruitment video, which intersperses brilliant and immersive combat scenes with excruciating comradely banter.

It’s not funny or inspirational, just loud and trite.

Looser, more conventional, and highly dependent on the enjoyably rambling bro-banter of NickKurtDale Inc, Horrible Bosses 2 is a mostly-cosy caper that gives off rather less blackly comic energy than its predecessor.

“I’m always going to be inside your head,” growls Crowe. Maybe not, but this fast, brutal chase-fest is trashy fun while it lasts.

Cue 105 painful minutes of a fat guy getting punched in the face and falling down.

Starts off flavourful, turns rather bland. This Injustice League jaunt proves that DC is still a long way behind Marvel for on-screen action.

The first Meg never pretended to be anything more than a shamelessly imitative, big-fish smackdown. Yet even that low bar proves too high for this listless, mechanical follow-up.

Much mellowing and life-learning ensues in a plodding dramedy, though the glint in MacLaine’s eyes makes it almost worth your while. Almost.

Aiming straight for mounting dread, Parker gets the job done aggressively.

A fun if by-the-numbers heist movie that brings the laughs, but doesn't stand out from the crowd.

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

"Poltergeist" goes "Back To The Future" with only passable results in a film whose activity is more par for the course than paranormal.

Fans will find just enough heart-swelling moments involving friendships and family to enjoy one last group hug.