Dwayne Johnson is in the thick of the action again in Rampage, but if you're after something gentle, then the Irish piano documentary Making the Grade is also opening in cinemas.
Rampage's recycled plot prevents the action flick from skipping to the next level, but its jaw-dropping giant monster sequences press all of the right buttons.
Loosely based on a popular 1980s arcade game, director Brad Peyton's showy popcorn movie is an all-out action fest with remarkable set-pieces and stunning effects. But when it comes to creating original content and compelling characters, the story is prematurely placed on pause.
Dwayne Johnson has teamed up with Peyton for a third time (after San Andreas and Journey 2: The Mysterious Island) - here flexing his muscles as Davis Okoye, a primatologist who has a close bond with George, an albino silverback gorilla. Read our full review here.
Making the Grade ****
After impressing audiences with family-based documentaries His & Hers and Mom and Me, Irish director Ken Wardrop has taken on a different subject for his new film, Making the Grade.
It certainly has the feelgood factor of his first few films, but here the Laois man has trained his camera and his very observant eye on a cross section of the 30,000 people in Ireland who prepare for piano exams every year.
Wardrop, who admits that he hasn't a note in his head, has crisscrossed the country, seeking both students and teachers of the piano. He uses the framing device of the grading system - from the novice Grade One to the challenging Grade Eight - to slowly ease out the stories of aspiring pianists, from Crosshaven to Derry. Read our full review here.
Truth or Dare *
Truth: The latest outing from horror masters Blumhouse is devoid of style, scares and suspense. We dare you not to be bored to death.
The supernatural thriller follows a close-knit bunch of friends - Olivia (Lucy Hale), Lucas (Tyler Posey), Markie (Violett Beane), Brad (Hayden Szeto), Penelope (Sophia Ali) and Tyson (Nolan Gerard Funk) - on their final Spring Break to Mexico. Their holiday glow quickly fades when a sadistic game of truth or dare follows them home.
Director Jeff Wadlow's (Kick-Ass 2, Never Back Down) movie premise sounds a lot better in theory than it turns out to be in practice. Though the ridiculous carnage is competently filmed, viewers are left with a setup that plays on all the clichés, but delivers none of the guilty pleasures. Read our full review here.
Michael Inside *****
After celebrating creativity in Ballymun Lullaby and championing youth mental health in I Used to Live Here, writer-director Frank Berry has turned his attention to the prison system as a gullible 18-year-old ends up behind bars on a three-month sentence. From that first knock on the door Michael (Dafhyd Flynn) ages by the minute.
As he tries to heed his grandfather Francis' (Lalor Roddy) advice about keeping his head down, Michael is drawn into the orbit of fellow prisoner David (Moe Dunford). Outside, the problems are piling up for Francis.
Stage set, you too are going through the wringer. Read our full review here.
A Quiet Place *****
Emily Blunt and John Krasinski say that working together has always been on their bucket list as a couple.
They have certainly picked the right film.
This foot-to-the-floor four-hander is proper old school when it comes to scares, but also makes sure that your emotional investment in the characters - mum, dad, kids - is huge. Read our full review here.
The Hurricane Heist ***
From the director of the first Fast and Furious outing, The Hurricane Heist, willingly or not, drags viewers into the eye of the storm at gale force speed.
Yes, it's a tidal wave of cheesy dialogue, overcooked special effects, preposterous plots, and cardboard cut-out villains, but it's a breeze to watch.
The script never rises to the epic promise of its title, but if cinema-goers are looking to blow off some hot air (and for some priceless social commentary), then this disaster flick tops the escapist entertainment barometer.
It's easy to pick holes at a storyline that expects its audience to believe a criminal gang are capable of... Read our full review here.
Ghost Stories ***
Ghost Stories offers a thought-provoking and disorientating series of unsettling ideas that delivers more goosebumps than gasps.
"The brain sees what it wants to see" is the ominous undertone of the big screen adaptation of the Olivier-nominated supernatural stage play, which is written and directed by Jeremy Dyson (The League of Gentlemen) and Andy Nyman (co-creator of the illusionist Derren Brown's television show).
The duo skilfully bring a profound sense of dread and lingering ambiguity to the intelligent British horror flick by trapping viewers in the dreamscapes of the characters' minds.
The endlessly fascinating, multi-layered swirl of a film is an exploration of survivor's guilt and also toys with the idea that nothing is more frightening than the fear of being found out.
Does the mind play tricks on us, or are we just suppressing our darkest thoughts? And so, the brain-bender begins. Read our full review here.
Love, Simon ****
"No good deed goes unpunished" is wisdom that many a film character has learned the hard way down the decades.
The latest is Simon Spier (Nick Robinson), the high school senior with the Midas touch who comes to the rescue of a fellow student online, only for the saloon doors of fate to wallop him right in the face.
Director Greg Berlanti (Dawson's Creek, Everwood) and Everything, Everything star Robinson have done the state of teenhood some service with this adaptation of Becky Albertalli's award-winning Young Adult book, Simon vs the Homo Sapiens Agenda. Read our full review here.
Wonderstruck alternates between different eras but fails to create an otherworldly experience.
The adaptation of the Young Adult novel by author and illustrator Brian Selznick, who also wrote the screenplay, tells the tale of two deaf pre-teens 50 years apart. Twelve-year-old daydreamer Ben (Oakes Fegley) is living in the rural Minnesota of 1977, and film buff Rose (Millicent Simmonds), also 12, lives in the New Jersey of 1927.
The ambitious plot is gorgeously mounted and a triumph of design, particularly the 'cabinet of wonders' at the New York Museum of History, but for all its noise and to-ing and fro-ing, the film's huge leap in logic comes off as farcical twaddle. Read our full review here.
This wannabe noir stars Anya Taylor-Joy from The Witch and Split; Me and Earl and the Dying Girl and Bates Motel's Olivia Cooke; and the late Star Trek and Green Room actor Anton Yelchin in his final role.
That's some line-up of talent, and for the first 20 minutes it looks like you and they could be rewarded.
Not so. Read our full review here.