The reboot of the Luc Besson-scripted TRANSPORTER series labours too much in a cliched revenge narrative to be as simple and entertaining as its predecessor.
Despite compelling lead performances from Brie Larson and Jacob Tremblay, ROOM squashes Emma Donoghue’s rich novel into a generic, awards-baiting prison of its own.
Z FOR ZACHARIAH takes a welcomely melodramatic approach to the post-apocalyptic survival tale, with impressive performances from a small cast.
CHRISTMAS EVIL may not connect the psychological dots in its Santa-obssessed anti-hero, but has enough dark surprises to entertain regardless.
Eric Lartigau’s crowdpleasing family dramedy is an uncomfortably bland and trope-filled tale of living with disability.
THE GOOD DINOSAUR is a wonderful installment in the Pixar canon, balancing vivid landscapes with the studio’s undiminished knack for characterisation and plotting.
With an ill-considered view of online and rape cultures, CAT SICK BLUES is a moronic slog that sunders its ability to entertain as a slasher or engage as a horror allegory.
IN THE HEART OF THE SEA is the latest in Ron Howard’s ongoing series of dull historical retreads, turning the voyage that inspired MOBY-DICK into an uninvolving survival drama.
Putting the hubbub of its theatrical release to one side leaves FANTASTIC FOUR a malformed curio, and a stark reminder of how drunk on franchise fervour we’ve become.
LIBRARY WARS: THE LAST MISSION takes a scattershot approach to a near-future manga series on free speech and censorship, finding impressive action sequences but little else.