The Gearbox title gamers loved has spawned a frenetic and disorderly shambles they’re likelier to loathe. Claptrap? You said it.

Buckling under the influence of Downton Abbey, Rice apes its style but none of the substance to create an amiable study of posh hypocrisy without any real satire or social feeling.

An intriguing concept is executed frustratingly poorly. On the Shyamalan spectrum, it’s more The Happening than Unbreakable.

As ever, Cronenberg leaves you with much to chew on, but dramatically The Shrouds feels rather inert, as if it can’t get out of second gear

Some fun action and Glen Powell's star power aren't enough to energize a muddled, poorly paced ride with thinly drawn characters and an inconsistent world that wastes its abundant potential.

It’s a nifty idea – especially in terms of structure – but that’s about it, with Clarke’s direction proving as flat as his performance.

The Soska sisters’ feminist ‘T Is For Torture Porn’ has the most to say but everyone will have their own favourites (D, K, T, X and Z, since you asked).

It’s left to the leads to keep us engaged, a tall order given their film’s old-fashioned, fusty feel.

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.

Long before the film reaches its action-packed, train-based climax, however, adults will be questioning if its three writers have so much as seen an actual Garfield comic strip, given how removed their work feels from its activity-averse inspiration.

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

Miscast and underwritten, Alex Cross does not reinvent Tyler Perry, or James Patterson's character, or anything, really. The only appeal here is the sick kick of watching a franchise blow itself to bloody stumps.

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.

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

All the signs pointed to a hit chiller: great cast, a director with fantastic form and a celebrated Jo Nesbø novel to draw from. So it’s a huge shame, then, that The Snowman is a bit grey and slushy when it should have been cool and crisp.

Occasionally potent but mostly risible, this tale of the occult sees Rob Zombie cast a weak spell. Disappointing.

This portrait of an alienated culture funnelling its rage into gun violence is itself too cold and distant to connect.

Adam Sandler stumbles into his own movie about 10 minutes into That's My Boy, and that's where the fun ends.

The pleasure of seeing a supergroup of Brit-veterans soon withers in an OAP comedy that plumps for light laughs over deeper insights.

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.

The cars are hot, the action is decent, but the characters and plot need a serious tune-up.

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.

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.

Taste and laughs are in equally slim supply in Jennifer Lawrence’s latest, from which only her fresh-faced co-star emerges untarnished.

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.

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.

It’s more of a table wine – inoffensive, middlebrow and, like the scenes of grape harvesting here, hard work.

It takes more than two Avengers and the director of Fast & Furious 8 to make the MIB hip again.