Gary Ross fleshes out Suzanne Collins’ sparse survival tale into a fully-fledged dystopian action flick, adding social and political complexities only glimpsed at in the debut novel. Stonking performances from everyone involved, genuinely harrowing scenes of sacrifice and A TOTAL LACK OF WEEPING VAMPIRES make this one teen franchise actual worthy of the label Young Adult. Thanks Bella, but you can go now.

It’s a sniper showdown! Except that the characters are so one-dimensional that they may as well be shooting cardboard cut-outs at a shooting range.

Reese Witherspoon and two of those action type actors star in a film about action and Reese Witherspoon. A film, incidentally, which was directed by Joseph McGinty ‘look what a stupid mononym I’ve got’ Nichol. It’s mostly guns and punches and stuff, so why isn’t it too dreadful?

If film titles were a true reflection of their content, Katherine Heigl’s latest mawkish, reductive and ceaselessly boring ‘comedy-thriller’ wouldn’t be called One For The Money. It would be called Yet Another One For The Money, And Also It’s Cool To Be Utterly Incompetent At Everything As Long As Someone Tells You You’ve Got Nice Tits. Tricky to fit that on the posters though, I suppose, considering how much room has to be left for her nice tits.

The English-language debut of Swedish thriller director Daniel Espinosa is a “high-octane”, “intense”, “no holds barred” (delete as appropriate) maelstrom of secrets, spies and badly edited fight scenes. The cast is fine and it’s always nice to go back to South Africa (fokken prawns!), but surely we’ve outgrown two hour gunfights interspersed with trash talk?

Interesting more as a window onto 60’s Paris and the spectacle that was Brigitte Bardot than as a piece of film, Love on a Pillow is unlikely to appeal to many who are just hoping for a decent movie.

Eventually Special Forces turns into a damn good survival thriller set in a beautifully captured Middle Eastern landscape. It’s just a shame you have to sit through an hour of numb, generic action to get there.

It’s almost impressive, the way Nic Cage can go on relentlessly lowering the standard of his output the way he does. If you thought National Treasure: Book of Secrets was as bad as it was going to get, you still had Season of the Witch to look forward to. And then Trespass. And now Ghost Rider: Spirit of Vengeance, in which FRANCIS FORD COPPOLA’S NEPHEW MANAGES TO MAKE A FLAMING SKELETON BORING.

Tilda Swinton shines as the troubled mother of an even more troubled child. Though ‘shines’ is probably the wrong word to use for such a startingly bleak performance.

Ever wondered what it would feel like to be told after the event that your lap-dancer has crabs? Wonder no more – this exploitation thriller come ho-mance will take you through it step by sordid step.