Mostly, this is empty, ugly and pretentious.

Snyder’s passion project risks becoming subsumed by its own self-importance, but delivers bombastic mayhem and grandiose visuals by the bucket-load.

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.

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

Hell, yeah? Hellish, more like. Despite its lead’s best efforts, this disastrous deboot is a gore-soaked bore.

The doltish, messy and frequently incoherent result bears all the hallmarks of a botched and compromised endeavour.

Sadly, this leap onto the stereoscopic bandwagon marks a new low for the franchise, as far away in quality from the '74 original as it is in years.

Sadly, any hopes Mark Tonderai's US follow-up to 2008's "Hush" could have some "Cabin In The Woods"-style surprises up its sleeve are swiftly dashed as its talented lead is reduced to being just another scantily clad babe getting stalked by a psycho.

Pegg works wonders, but you’ll wish the concept had been pushed further, that there was more to the Pythons’ ‘reunion’ – and that Robin Williams had found a funnier swansong.

Fear falls short of fantastic yet it’s a decent effort that, like Pegg’s beard, proves to be something of a grower.

CGI wasps and coloured contact lenses aren’t as terrifying as director Simon Verhoeven seems to think, and all the loud bangs in the world can’t hide the lack of tension.

Without the darkness or depth of the Harry Potter movies, Artemis Fowl fails to find an audience over 10 years old

It's all enough to make you wonder if this is a flight that should have stayed grounded.

A swollen budget, a mini-Big Lewbowski reunion, and top-notch digital effects fail to enliven proceedings in yet another ho-hum dragon chaser based on a YA novel.

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.

A romcom that fumbles for heart in the gutter, and finds only glib gags.

Less abrasive than Part II, but lacking any of Part I's freshness, this is the most lacklustre return-to-Vegas, trilogy-closing caper since "Ocean's Thirteen."

Sly and Statham are always watchable – not least when the latter takes a job as security for an odious social media influencer. But they can’t save this mission from going painfully pear-shaped.

The Russo brothers deliver a fun and very current take on tech vs humanity with a core message on how human connection conquers all in this visually stunning sci-fi family adventure. However, the rushed storyline and vast list of underdeveloped characters ultimately let the movie down.

Strained, shrieky and lacking likeable characters, it bizarrely forgoes any insight into parenting, gambling, or the cost of education for Grand Guignol limb-lopping.

Celia Imrie and Emily Watson are a breath of fresh air and lead Raffey Cassidy fares better than most of the kids, but it’s not enough to save this dreary caper.

Vexingly, Ferrell flaunts his daft genius just enough to avert an entirely shite Christmas.

The athleticism of the final ‘battles’ impresses, but even then, the routines are marred by trick-edits and headache-inducing 3D.

It’s to director Chris Menaul’s credit that his lack of big-screen experience isn’t evident, but the same can’t be said for his cast who are, by and large, too stiff to charm.

Neither a satisfying treaty on diversity and 'race' wars, nor a fulfilling fantasy, it derails at the end of the first act with a confusing moment of anti-heroism, and never recovers.

It might look as though Hallmark, Benetton and Richard Curtis have collaborated on a movie, but Chelsom’s lightly subversive, self-aware tone bolsters Pegg’s best shot yet at a mass-appeal crowd-pleaser.

You can at least say for the film that it’s clearly targeting a surreal, stoner vibe. But even cutting it that slack, there’s barely anything here to recommend.

“That was exciting!” says Willis after he and Courtney survive a 20-storey leap through a plate glass window. “Want to go again?” Frankly, Bruce, we’re fine to leave it here.