If you can ignore the disturbing parallels with recent events, this middle-aged, Middle-American "Attack The Block" raises a laugh.

Disappointingly limp, with precious few belly laughs, despite a try-hard attitude.

While it may prove a good gateway horror for some, more experienced genre fans will likely wish it was a bit nastier.

With a wraparound narrative that never really strikes a balance between past and present, all that axe-flinging, ice-casting action makes a modest impact.

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.

Vardalos does her best with her scenes as Toula, bringing some much-needed charm and emotional depth, while laughs are mostly driven by Andrea Martin’s Aunt Voula, who aptly introduces herself early on as "your favourite". But neither can save My Big Fat Greek Wedding 3 from feeling like a pale imitation of what’s come before.

Fleischer made a better comedy-horror with Zombieland, but Venom’s a decent buddy actioner. You might even laugh your head off.

In the hands of director George Nolfi, what could have been a fascinating insight into street versus classical martial arts instead becomes a generic fight flick, with a script so heavy-handed it feels like it was bashed out with knuckle-dusters.

First too slow, then too silly, Vaughn’s well-cast but wayward romp fires off half-baked ideas without the focus needed to make them stick.

Steven Spielberg famously retained his childhood sense of wonder. On this evidence, Meyer has maintained a nine-year-old's notion of titillating romance.

Melissa McCarthy’s over-the-top performance as a low-rung grifter enlivens what is otherwise a groan-worthy odd-couple comedy.

Morbius may be a living vampire, but this supervillain origin story is dead on arrival. A rote, lifeless and cynical attempt to expand Sony’s Spidey-Verse.

It’s not as epic as "March Of The Penguins," or as stunning as the BBC’s usual slo-mo nature porn – but with nary an animated tap dance in sight, it’s still king of the 3D penguins.

The leads gurn gamely, Ben Batt’s villain oozes menace and Golden directs energetically, but the climactic twists are as convincing as pills made of washing powder.

A facepalm of a film that places no value on life or limb yet still expects the audience to, this sub-par shoot-’em-up plays out like Four Rooms’ fifth part.

The Expendables 3 marks a sizeable improvement on the first two outings.

Ashley Bell’s nuanced performance and a surprisingly pyrotechnic finale liven up a gloomy sequel. Title’s still nonsense, mind.

Though closer in quality to Morbius than Venom, Kraven is far from a catastrophe and serves up a decent helping of bloodthirsty, globe-trotting action. Taylor-Johnson makes a muscular if self-satisfied protagonist in a film that would have been better off standing on its own shoeless feet than cravenly (or should that be, 'kravenly') cleaving itself to its comic book brethren.

The seventh and supposedly final Scream is never as sharp or as smart as the series' best, but it still has a few neat tricks up its billowing sleeve. Enjoyably self-aware and satisfyingly bloody, this may be imitation Craven, but it proves Scream's slasher-whodunnit formula is still potent enough to thrill.

An expert blend of world building, humanity, and the magical strangeness of Final Fantasy. Best of all, you don't need to know anything about Final Fantasy to love it.

Snyder’s sci-fi epic stumbles towards the finish line with an underwhelming Part Two that feels more like a Part One-And-A-Half.

The predictable script lulls you into laughing at some very tired gags, but at least Hart refrains from screaming through the whole thing.

It’s not the sort of family film you’ll wax lyrical about, but there’s enough colorful, chaotic, kid-friendly fun to amply entertain.

Even though the ever-reliable Galifianakis has fun bromancing the stone-faced Hamm, the end result feels like a decaff version of Date Night.

At best, this is a cringey stab at black comedy redeemed by charismatic stars; at worst it’s a glib and manipulative punt on a subject that deserves more care.

As baffling as it is dull, The Dark Tower is a disappointment for both hardcore fans and the King-curious. Stick with the books.

Laughs are few and far between in a comedy that proves the combo of talented performers and an intriguing concept are no guarantee of success. Dispiriting stuff.

The fast and furious action is a bit plasticky, but the two starry leads bring some real sparks.