There are parties, indoors and outdoors, lots of dancing, and plenty of gyrating bodies. How much you come away knowing about the music that is moving those people is another matter.

It is a film where the most delicately handled is 47’s suit, that he hangs up carefully at the end of every blood-splattered day.

Wilson is repetitive and tiresome, Poots grossly inadequate, Hahn again underused, the dialogues flat and the punch-lines absent.

The problem is that Cavill and Hammer don’t light any sparks, together or apart, good as they look in the sharp suits.

Edgerton and Bateman put in very good performances in a story that depends entirely on our inability to trust their characters.

When Fantastic 4 becomes Fant4stic, you do know the reboot you are getting. Yes, they are younger, right out of school.

The funniest part doesn’t involve any body part though but a broken heart. By the end of it, you may even find yourself cheering for the Griswolds. However, in this case the journey may not be worth the destination.

After 130 seven-minute television episodes, starting eight years ago, Shaun the Sheep has made it to the big screen. Despite the size and the scale (85 minutes), and the transition to the big city, directors-screenwriters Mark Burton and Richard Starzak retain the innocence about a flock of sheep and their beloved farmer, down to the no-frills stop-motion animation and the no-words story but for some baas and murmurs.

There is an intrinsic problem with this film about creatures who exist just to serve. When it actually gets going, Minions finds it hard to hold down a thought, let alone a relationship.

Actor Elizabeth Banks’s directorial debut hopes to cruise on the surprise success of Pitch Perfect, but a completely random script, held together by a few scenes of actual delight, lets down her effort. If the singing is few and far between, drama is virtually non-existent with any such scenarios either wished or laughed away.