It’s the same sappy drivel as before.

Bobin’s attempt to fill Tim Burton’s shoes generates a lively but ersatz sequel that only truly ticks when Baron Cohen and Bonham Carter are around.

There are some decent-enough scares weaved in, including a powerful cold open and a pull-string set piece. But for a film about the power of imagination, it’s frustrating how little it trusts the audience to use its own. As such, there’s no real sense of dread or suspense.

Showing subtlety the door almost the minute it starts, David E Talbert's romcom is the filmic equivalent of a frying pan to the skull.

The Devil may have all the best tunes, but this really is the worst sort of cinematic karaoke.

More Blue Steel than Magnum, this is a perfectly serviceable sequel, but dogged by repetition, it lacks the original's speed and sizzle.

By the numbers even by Sparks’ standards.

Eckhart makes a decent Damon stand-in, but there’s nothing here than hasn’t been done (better) before.

While there’s little here to jangle the nerves, The Mummy does wrap up enough adventure, action and quips to make it, if not a scream, a worthwhile Friday night out.

Loosely based on the 2001 game Silent Hill 2, Return to Silent Hill can be an atmospheric horror film with original creature designs worthy of Konami's legendary franchise. But a confusing plot, mediocre visual effects, and over-the-top acting might make director Christophe Gans' newest Silent Hill adaptation just as divisive as his first attempt 20 years ago.

Sweet, self-aware and silly, the new Vacation doesn’t destroy memories or alienate newcomers – but neither does it break the mould.

After pretty much inventing the modern-day comedy drama, Judd Apatow here gets frivolous, to patchy effect.

There are star names in the cast – Sylvester McCoy, John Hannah, Samantha Barks – but ultimately the film rests on Boyle, who sadly has all the acting nuance of a Speak N’ Spell.

This over-extended teen dystopia is treading water, coming up short on its trademark punchy plotting, teen self-discovery and the wonderful Woodley.

The 'dual roles' conceit doesn’t quite work, despite Ferguson's best efforts. But, while it struggles to find rhythm, you can't fault Sarif's ambitions.

Largely gung-ho nonsense, but it’s always a pleasure to see J.K. Simmons in ball-busting mode, barking words like “simpletons!” at his men.

A film that also aims for gangster grit, community awareness and emotional impact, but compromises on everything.

A ploddingly predictable, gore-lite yawner.

Protagonist Vivian (Shelby Young) may evoke memories of Natalie Portman in Black Swan or Suspiria’s Jessica harper. But she’s a comparatively underwritten character, failing to convince as a trauma victim.

Jaden Smith takes centre stage in a futuristic rites of passager that plays like an extended episode of The Twilight Zone. Although "Oblivion" narrowly remains this summer’s better ruined-Earth actioner.

As for some of the big reveals, viewers will see them coming from a galaxy far, far away.

When someone in Age Of Extinction carps about “crap sequels and remakes” in movies, you almost choke on the audacity.

This might have been titled ‘Independence Day: Submergence’. It’s certainly hard not to drown in the sea of CGI, with the exponential increase of pixels being to Independence Day what the Star Wars prequels were to the original trilogy.

Banderas hams and Pinto flutters. If it weren’t for Strong and some colourful art direction, you could chalk this up as a busted well.

Tasked with brokering a peace between event-sized thrills, gaming lore and high fantasy, Jones embraces Warcraft’s world with laudable commitment: but when it comes to charging it with life, sheer bulk gets the better of him.

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

An oblique, overlong film from French fashion designer Agnès B, whose arty flourishes and wooden dialogue are as intrusive as the blaring Vivaldi score.

It’s nowhere near as subversive, stylish or witty as Guy Ritchie’s debut – hampered by thoroughly unlikeable characters that not even its talented young cast (Ed Speleers, Will Poulter, Alfie Allen) can make you root for.