Clarisse Loughrey

This is a story, ultimately, that drives home the idea that solidarity can exist even when there’s no sense of community – and particularly when that community has been systematically dismantled by the powers that be.

Cillian Murphy allows the light to dim from his eyes in every subsequent scene, but it is Robert Downey Jr who is titanic here.

While it’s impossible for any studio film to be truly subversive, this Mattel-approved comedy gets away with far more than you’d think was possible.

Elemental overcomplicates itself. It’s a straightforward romcom that’s also about culture clashes. And the systemic racism in city infrastructures. And the expectations immigrant parents place on their children.

You will leave Dead Reckoning the same way you always do: wondering how Cruise could possibly outdo himself in the next one – until inevitably, he does.

Run Rabbit Run is certainly fluent in the visual language of eerie, effective horror. Its metaphors, though, are all mumbled.

Ruby Gillman, Teenage Kraken fails to see its own potential – it’s never quite sharp enough to work as a parody, nor sincere enough to make its adolescent insecurities relatable.

Behind the lazy, shock-tactic humour lies a streak of genuine humanity, something to carry the film beyond mere butts and boobs.

The most effective scenes in Flamin’ Hot prod gently at how disharmonious the relationship between the man on the floor and the man in the boardroom can be.

Ramos and Fishback are talented enough actors that they are able to perforate the chaos with some genuine emotion.

The Boogeyman is conventional horror, comfortably elevated – the same old monster in a shiny, new hat.

Blighted by development problems and a star whose downward spiral has been widely dissected by all, this superhero blockbuster emerges just as confused as predicted.

This is, dare I say it, how fan service should be done. It’s far easier to overlook the usual nostalgic pandering when it’s taken a backseat to genuine creativity.

Nice casting can’t cover up the ugly visuals and lack of creative risk.

DiCaprio and De Niro are brilliant, but it is relative unknown Lily Gladstone who is truly extraordinary.

Beau Is Afraid is an Oedipal farce hysterically outsized in its execution.

It’s a phenomenal performance from McAdams, subtle and gentle in its heartbreak.

No, there are no dinosaur cameos, but this 10th lap – now with added Brie Larson – is relentlessly fun.

Their film is so stuffed with incident – all of it preposterous, and occasionally insulting to the intelligence of its central quartet – that it sours what could (and should) have been a joyful celebration of desire and indulgence at any age.

Go back to your roots, we’re always told, and you’ll find your heart’s true home. But in Davy Chou’s daring and mesmeric Return to Seoul, an adoptee’s search for her birth parents tears open wounds and unearths neither meaning nor resolution.

The Guardians films have always been about the fact that many of us are like putty – shaped not by where we’ve come from but where we are and could end up. Vol 3 should make audiences thrilled about what comes next for Gunn in his new position as co-head of DC Studios. As for Marvel – well, it’ll be their loss.

Manzoor’s film, with a roundhouse kick to the heart, both parodies the generational divide with its fantastical plot and finds sympathy for what makes parents domineering.

Evil Dead Rise provides blood by the bucketful without ever crossing the line into outright cruelty.

It’s not a manifesto, really, but a matter-of-fact portrayal of the palpable anger emanating from a betrayed generation.

There is no chemistry, sexual or otherwise.

The irony of being intimately connected while desperately lonely can be a hard one to digest. Yet director Mia Hansen-Løve prods at the concept with the same tenderness that she applies to all her films – each of them united by the pains and pleasures of interconnectivity.

It’s only regrettable that the film itself didn’t heed one of cinema’s most important lessons – when you put Nicolas Cage in a movie, it’s guaranteed no one will care about anything other than Nicolas Cage.

It’s hard to land on a reason for any of this to exist beyond a goosing up of Nike’s own image.