Thursday Till Sunday looks pretty and….and nothing. It just looks pretty. The last word in indulgent filmmaking, there’s no denying that Thursday Till Sunday is a beautiful film – but looks aren’t everything and viewers looking for something with just a tad more substance may be left feeling disappointed…

Safe Haven has been making a killing at the box office, for reasons we can’t possibly fathom. Badly written, badly acted and generally just bad, this is the number one film to stay away from this week…

Deeply unsatisfying, 12 In A Box fails to deliver on all accounts. Too dark to be lighthearted, too slapstick to be a proper black comedy, it’s no wonder the schizophrenic plot leaves the majority of viewers baffled, bewildered and, above all else, bored out of their minds.

Oz: the Great and Powerful, the prequel to 1939’s The Wizard of Oz that everyone has been clamouring for these past 70-odd years (ahem), is most surprising in that it’s nowhere near the mess it promised to be. Luridly colourful and garish, but filled with likable performances and some excellent 3D. But while it may not be a total mess, but that’s not to say that it isn’t still wildly inconsistent at times.

The latest fairy tale movie-on-the-block is Hansel and Gretel: Witch Hunters; a gory, mindless re-telling and continuation of the Grimm brothers’ original folk tale. Strangely, it can never quite work out if it’s written for adults or children, incorporating a dull and simplistic script with a random splattering of heavy cursing and limbs being ripped apart from bodies. It’s an odd one, Hansel and Gretel may be at its best during the action but it’s still all thoughtless and long-winded.

Broken is the feature film debut of British director Rufus Norris. Adapted from a Daniel Clay novel, the picture is the story of three families living in a North London cul-de-sac as seen through the eyes of young girl Skunk (Eloise Laurence). Affecting and current, Broken blends gritty realism with just a hint of melodrama to create a state-of-the-nation piece that works on many levels.

The follow-up to A Turtle’s Tale: Sammy’s Adventures, Sammy’s Great Escape once again unites long-time turtle pals Sammy and Ray – this time in an attempt to find their way home after they’re captured by poachers and shipped off to a fancy aquarium. Aimed at a very young audience, parents and those old enough to hold a decent conversation will struggle to find Sammy’s Great Escape anything but tedious. It’s a pleasant enough film if you’re 6 years old, but that’s literally it.

To the Wonder is veteran cinematic visionary Terrence Malick’s follow-up feature to Tree of Life. A cast including Ben Affleck, Olga Kurylenko and Javier Bardem struggle to steal the film from the scenery, which as usual is a big concern of Malick’s. Will it be as divisive as his last effort? We tried to find out.

Terence Stamp is back, guys. And this time, the highly-revered actor (“I don’t like to do crap [films] unless I haven’t got the rent”) sports a contemptuous scowl and a hard-hearted exterior, playing a grumpy old pensioner learning to cope with his wife’s terminal illness. Song For Marion sees Stamp as you’ve never seen him before; regularly putting on the kettle and for the first time, acknowledging his 70+ age in this heart-warming tale about discovering that it’s never too late to discover who you truly are.

Crawl is guaranteed to put a smile on anybody’s face – which is extremely awkward, as it’s supposed to be a horror film. Illogical action sequences, unbelievable characters and enough violins to give Fantasia a run for its money, this movie just falls short of the “so bad, it’s good” category….