Another addition to the endless list of remakes, Point Break merely leaves us bemoaning the dearth of original ideas in Hollywood nowadays.

There is speculation that Craig may holster his Walther pistol following this quintessential-if-unduly-lengthy outing. No matter, for aficionados will still wait with bated breath for Bond No 25. Bring it on. Soon.

Del Toro creates an effectively eerie atmosphere in the spooky period piece. Skirting the shock tactics and jump scares commonplace in horror movies nowadays, Del Toro opts instead to build up a poetically imagined nightmare.

We Are Your Friends is devoid of any discernible rhythm. Straining for kinetic energy, the overall effect of director/co-writer Max Joseph’s first feature is of a tired, overambitious effort.

One of the breeziest romps of the year, She’s Funny That Way marks the big-screen directorial comeback of the Hollywood historian-critic Peter Bogdanovich. Blending his own comic sensibilities with a touch of Ernst Lubitsch, the old-school maestro whose final completed film Cluny Brown (1946) provides the inspiration for a running gag involving squirrels and nuts, this is Bogdanovich’s valentine to the classic screwball comedies of the 1930s and ’40s.

Essentially a throwback to the cheesy sci-fi fantasies of the 1950s, Fantastic Four winds up as the weakest link in the three-film-old franchise.

Richly detailed, the dialogue-free adventure serves as a tribute to the visual ingenuity of silent cinema. Even though it tends to lurch about at times, the script manages to convey a cavalcade of emotions through expressive character design and a clever use of bleats, growls and mumbles.

Top-lining a predominantly macho genre flick McCarthy shares cracking chemistry with her co-stars. Jason Statham deserves special mention for his hilarious performance as a rogue agent. Spy is recommended for those in the mood for escapist fun.

Quite predictably, the script contrives an encounter with a dashing philanthropist (Huisman). Their budding romance forms the core of the heavy-handed fable. The maudlin voiceover narration replete with pseudo-scientific jargon serves no purpose. Worse, the narrative is bogged down by the frequent jumps back and forth to the dilemmas faced over the course of a century.

Heading an excellent ensemble, Arnold Schwarzenegger brings unexpected complexity and compassion to his role of the distraught father.

A zombie film of unusual depth, Maggie gives American horror cinema the shot in the arm it so desperately needs. Miss it at your peril.