After gunning down a member of the High Table -- the shadowy international assassin's guild -- legendary hitman John Wick finds himself stripped of the organization's protective services. Now stuck with a $14 million bounty on his head, Wick must fight his way through the streets of New York as he becomes the target of the world's most ruthless killers.

John Wick’s good at killing. He can kill every Tom, Jessica and Harry who comes gunning for him. John would like to play fetch with his new dog without the both of them constantly dodging bullets and ninja stars, but there’s is only one way out, John figures. And that’s to get back in.

But that won’t be easy. Pretty near everyone on John’s contact list is an enemy these days. He’s been declared “excommunicado,” meaning no self-respecting criminal can give the guy the time of day. If John wants to get back into this bad world’s good graces, he’ll need to somehow convince the High Table that he deserves another chance—or go above it’s collective head and speak to someone that even the Table fears.

It won’t be easy, of course. He’ll have to fight hundreds of weapons-brandishing enemies, shed pints blood, stave off utter exhaustion and do his dead-level best to keep his dog safe.

Taron Egerton brings out his inner diva into the spotlight with a versatile depiction of Elton John in this musical biopic of the singer’s career.

Tracking his rise from suburban schoolboy to global superstar, we see the tears behind the glamour as Elton struggles with a lack of self-worth, which the film shows stems from his distant dad that didn’t want to hug him. This results in the usual rock and roll clichés of self-destructive addictions, including drugs, booze, sex and shopping, with which Elton tried to fill his void.

Packed with the greatest hits such as Crocodile Rock and Your Song, it’s an orgy of clothes, cars, mansions and orgies, though unlike the outrageous costumes, the gay sex scenes are tasteful, sincere and won’t scare the homophobes too much.

Poor production values, rubbish jokes, poor editing and a general feeling of low standards pervaded the film.

With such a wide audience for fantasy, sci-fi and animated films — both in age and in the increasingly lucrative overseas markets — what might have once been considered a “kids’ movie” now has the potential to be one of the biggest and best things you’ve seen all year, or at least the highest grossing.

“Aladdin” is not this type of movie. It is a kids’ movie rehash from a pre-21st century template ultimately lazy, boring, wooden in concept and execution, and lacking any sense that the people in charge thought this was going to matter. It aims low and consistently misses its targets, wasting a breathtaking amount of money, talent and goodwill along the way.