Jupiter Ascending (12A) **

This convoluted space thriller wobbles due to an underdeveloped storyline and overcooked visuals.

Andy and Lana Wachowski have always thought big - and even 2012's flawed Cloud Atlas had many elements going for it.

But this messy blockbuster marks a retrograde step for the filmmaking duo, with a confused mish-mash of ideas and special effects that look expensive but feel overblown.

Mila Kunis and Channing Tatum do their best with underwritten roles. She is the titular Jupiter, a cleaner who works hard to earn a crust along with her mother (our own Maria Doyle Kennedy).

Her life seems mundane - that is, until Caine, a genetically engineered, half human/half wolf in the very attractive form of Channing Tatum, is tasked with tracking her down for a very different fate.

He has been tasked with rescuing her from the wicked Balem (Eddie Redmayne), a powerful figure from another planet who wants her killed.

The Matrix broke new cinematic ground and there are many echoes of it here - the idea of a ‘chosen one’, the slow-motion action scenes, the high-concept design.

But storywise it’s a mess and there is simply too much jargon, flabby storytelling and implausible plot twists (yes, even for a movie set in outer space).

Kunis is underused, spending much of her time either as a damsel in distress or asking what her destiny is in a bid to let us know what’s actually going on.

Redmayne, so good in The Theory of Everything, struggles with his camp villain. Most disappointing given the Wachowskis flair for sci-fi, the special effects look gaudy and lack spectacle.

Patrick’s Day (15A) ****

Dungarvan actor Moe Dunford shines in what will surely be a breakthrough role for him in this low-budget Irish drama. He plays the titular Patrick, a man in his mid-twenties who’s amiable, charming, and suffers from schizophrenia.

He’s experienced some horrific times, but thanks to strong medication and the love and attention of his mother Maura (Kerry Fox) he’s coping with his illness.

But Patrick’s and his loved ones’ lives are turned upside when he starts to assert his rights to sexual intimacy.

He has a fling with Karen, a flight attendant with mental health issues of her own, invoking the intervention of his furious family.

Terry McMahon’s fine new film is an unashamedly issue-driven one that looks at the rights of people with mental illness to be exposed to the same life and love experiences as the rest of us.

It’s a stirring, provocative film that is likely to invite debate about this topical area - and McMahon wouldn’t have it any other way.