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

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.

A solid performance by Quasem and an impressively gruesome early leg-munch aren’t enough to earn Something in the Water anything close to a recommendation. Avoid like a fin in a bay.

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.

“Rock solid,” is Bruce Willis’ nod-wink appraisal of an attack strategy in G.I. Joe: Retaliation. The film’s nowhere near as sturdy, trundling out middling action and nonsensical plotting.

It’s a premise that sounds like the silliest of celebrity vanity but is, in fact, presented as an endearing portrayal of Rastafari culture, spiritual exploration and Snoop’s own past, present and future.

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

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.

Those under 10 may love Joe, but adults will find him less appealing. Theron almost saves the day, until she flounders under the weight of poor dialogue, dull direction and a role that seems to value her make-up over her acting.

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.

That every jibe lands woefully wide is no surprise, though we’ll give leading lady Ashley Tisdale credit for giving her all to a film that mercifully won’t be around long enough to do any lasting damage to her post-High School Musical career.

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.

To be fair, Blood and Honey 2 is actually a notch above its predecessor, if only because the production values are (relatively) higher. But despite a watchable turn from Chambers, this is largely Neanderthal filmmaking, even with hospital janitor Simon Callow offering up a Scottish accent and a lot of pointless exposition.

Limp, transparently plotted flight fodder. Jilt it.

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.

Charmless, mirthless and witless, this waste of time is another black mark on Depp’s card, while his co-stars fare little better. Even low expectations won’t help you here.

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

An uneasy combo of adventure film and gag-heavy kiddie-com, Dolittle fails to satisfy on either front.

A disco dancing Jamie Lee Curtis is long gone, and so is any sense of logic in this drivelsome fourth Prom, which takes itself far too seriously.

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.

Nothing about the film works. And the festering boil on this arse-end of cinematic quality is the duck suit itself: it’s about as realistic as a builder’s quote, with less than a tenth of the aesthetic charm of the same builder’s bum cleavage.

For all their technical competence, the Spierig brothers don’t show great understanding of how ghost stories actually work.

While the visuals are refreshingly clean and grounded for a modern superhero film, the story is bogged down by exposition and egregious product placement.

Most ‘one crazy night’ movies (from After Hours to Superbad) thrive on a sense of escalation, but Stand Up Guys only seems to lower the stakes as it stumbles tediously on.

A-list sad-faces abound in a film where absurd concept is rivalled only by banal execution.

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.

Alas, director Courtney Solomon burns out all the cool potential, leaving us with a witless and unforgivably tame car wreck.

It’s poorly made and in poorer taste.