What’s it about?
What happens when a superhero dedicated to American ideals starts questioning the government organisation he works for?

What did we think?
Anthony Sherratt says: The Captain America sequel is a rollicking comic book adventure with a nice modern twist: How does an all-american hero with 1940s ideals fit into a world of black-ops and clandestine government strategies? It’s a refreshing angle though turns out to be a little simplistic in delivery.

Thankfully there’s a barrage of action, stunts and fighting to distract you from the occasional clunkiness and predictable moments. Good character development further establishes this as not only a fun movie but a very  important touchstone for future Marvel franchise flicks. Chris Evans brings out the conflict of Steve Rogers Man Out Of Time and his interaction with seemingly heartless super spy Natasha Romanov (Scarlett Johanssen) is a delight. Entertaining and one both comic lovers and casuals will appreciate.

What’s it about?
I, Frankenstein picks up where the graphic novel by Kevin Grevioux left off, after Franky’s creator Victor is killed. The Gargoyle queen finds him, the demons are after him and all Franky wants to do is defend himself from the woes of modern day.

What did we think?
Adam says: I suppose the film should get some points for shooting in Australia and for director-writer Stuart Beattie putting up with 11 (that’s right, ELEVEN) producers. Had it not have been for the illusion of high production values and the fact that it will be popular amongst vampy teenagers looking for their next hit of comic book gore, this movie might have brought about the second death of ol’ Frankenstein. Not even the steamy “don’t worry I’ll stitch the monster up after battle” scene with  Franky and blonde bombshell Terra (Yvonne Strahovski) can save the gargoyles, special effects and bad boy Bill Nighy’s excruciatingly awkward one liners. Franky needs a stein of lager, I think, and a good lie down.

What’s it about?
A slave-turned-invincible gladiator struggles to save his love in the shadow of an angry volcano.

What did we think?
Anthony Sherratt says: I’ll save you a lot of time and frustration and remind you the volcano erupts killing nearly everyone. And if you’re sitting watching this in a cinema it can’t come quickly enough.

Director Paul W.S. Anderson chooses an odd time to be restrained but, to be frank, nothing could have saved Pompeii.

What’s it about?
The Mad God King Xerxes and his giant army continue their attack on Greece as six-packed soldiers fight them. Usually in slow motion.

What did we think?
Anthony Sherratt says: Breasts, blood and slow-motion violence. The latter two to excess. On paper this sequel (technically a companion piece) offers more, more, more. More blood, more gore, more effects. And yet somehow you feel shortchanged.

It could be the irritatingly repetitious effects that are impressively stylish at first but wearing after the 30th time. Or the fact the story attempts to be complex but fails.

Luckily you’re so distracted by Eva Green’s AMAZING turn as a psychotic villain bent on revenge that you will leave pretty happy. She has slashed her way into my top five movie villains of all-time with an intense performance that has you occasionally cheering for the bad guys. Rather than a third 300 film let’s have an Artemisia prequel.

It’s a mid-range bloody popcorn flick. Now can someone just explain to me why there are particles hanging in the air everywhere in Greek cities?

What’s it about?
George Clooney and company go undercover to save art from Hitler. Based on a true story.

What did we think?
Scott Ford says: Even Clooney’s fabled charm can’t save this muddled dud of a movie. For a film about art there were surprisingly few artworks on display. Why they’re so valuable is never fleshed out, either. This could be subtlety if it weren’t for Clooney’s adolescent speeches about the importance of culture. Sorry George, but I sided with the infuriated military men: would you want to explain to a mother that her son died for a panting?

We are left with a group of beloved actors romping through an unfunny homage to classic WW2 movies. Watching The Monuments Men feels like watching your dad and his mates acting out their tired stories. You’ll nod, you’ll smile — you might even chuckle once or twice — but you’ll be relieved when it’s over.