Everything gets just too damn convoluted for its own good, and it’s hard to care what becomes of Haggis’ characters as they’re shifted around. Any one of the strands expanded alone might have worked better.

Reitman’s topical and melancholy drama is commendably ambitious. But its OTT plotting and alarmist tone make it a Reefer Madness for the Instagram generation.

Wanted director Timur Bekmambetov stresses spectacle over subtext – and, effectively, leaves the cast floundering fast.

In narrowing his film’s field of activity, director Colin Trevorrow dispiritingly winds up reducing it to the tried, the tested, and the numbingly familiar.

Impressively designed throughout, The Unbeatables also keeps the laughs kicking.

Polished but pedestrian, Hillbilly Elegy is a boilerplate underdog tale that lacks bite – but gives good Glenn Close.

The requisite training montage is half-decent, and the split-screen end credits replay Van Damme’s infamous dancing in the original, with Moussi mirroring his every bad move.

Unfunny, unthrilling and unsexy, this doesn’t even reach the low bar set by the source material.

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.

Leaner, meaner, and far superior to 2010's Clash cock-up. From top-grade 3D to a multitude of monsters and a welcome influx of acting talent, this is pure popcorn pleasure.

Ultimately, it’s not as awful as "Wild Wild West." But we’ll hazard a guess that Pirates 5 can’t come quick enough for Bruckheimer or Depp.

Twists pile as high as corpses before an overcooked ending sends things spiraling into silliness.

C+ gags and D- supporting characters sabotage the final grade, but a perma-livid Cube is the star pupil and the brutal playground punch-up doesn’t disappoint.

Past an impressive siege opening, everything in this `thriller' is terrible: the action, the supposed tension, the dialogue and the plot. Every opportunity to make it good is missed.

The cast try hard and are rewarded with some zesty dialogue, but remain shackled to the girl-with-dead-dad-grows-up formula.

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 leads deliver to order in this flimsy but playful frolic. A tankful of banter keeps the engine ticking nicely.

It’s no "Drive," and even hardcore fans will struggle to love a film that’s as mad as a bag of prawn crackers, but as an exercise in style, it has many moments to savour.

It’s handsomely lensed, and when Cage and Cusack finally go nose-to-nose, the fur does fly.

The boundless inventiveness Nintendo is known for never quite bleeds through as you would expect, especially as an adaptation of one of Mario's most beloved 3D platformers. The Super Mario Galaxy Movie, then, shoots for the stars and ultimately comes up just short.

Sophie Lellouche’s slick debut is chock-full of Woody-com quotes and references, yet it remains an inconsequential, undernourished trifle that does sod-all with its potential.

The action’s routine (as is the norm for this sub-genre) and the spy plot skimps on mystery and twists. But Bautista and Coleman maintain their winning rapport from the first film, and Schaal’s inappropriate comments never fail to amuse. It’s just about enough.

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

Fun enough, but not the lightning-bolt-to-the-heart update we hoped for. For a far superior update of the Frankenstein myth, read Stephen King’s Revival.

Jones and Oldman are on autopilot, while Costner grizzles like a sore-headed bear. Only Gal Gadot, as Reynolds’ widow, has any cred in this utter pap.

As Peter Pan should be one of the ultimate wish-fulfilment heroes for kids, it’s baffling to see how he’s been appropriated for such an awfully middling adventure.

The kids are charmless, the writing is bland, and the embarrassing jokes sound like nails down a blackboard.

Valiant, but flawed. Some of the set-pieces are superb, but there isn’t enough meat on the bones to turn this into a classic.