Jane Crowther

An uncomfortable fit for the Time's Up era.

Though it dabbles with the horror of the Third Reich it never examines their worst atrocities ... And that perhaps, is too careless in today’s world of a rising far right and stealth dictatorships. But if you’re looking for giddy escapism, Bowie tunes and an unapologetic good time with a side order of remembrance for of WW2, then you’ll have as much fun as the cast clearly had making this.

Though ambitious and visually stunning (gorgeous cracked deserts, beautiful beaches, houses filled with sand), it’s willfully elusive and unwieldy to the point of frustrating.

No huge surprises but finely tuned and fun, like the love-child of Gravity and Alien, with added popcorn.

A glossy, undemanding confection that doesn’t make waves, but shouldn’t be given a wide berth either.

Polished but pedestrian, Hillbilly Elegy is a boilerplate underdog tale that lacks bite – but gives good Glenn Close.

Love Eurovision? You'll love this. Never heard of Eurovision? You may find it all bewildering.

Uncomfortable viewing, then, but also engaging, unbridled cinema that will prompt discourse and divide opinions.

As glossy as any of the surfaces that Alice polishes so diligently each day, it’s a feminist film that asks viewers to evaluate their own social complicity in oppression, while not skimping on really great costumes, gorgeous cars or horny sex scenes.

Frankly, if you’re buying a ticket purely for the behemoth battles then you’ll get your money’s worth: take your pick from a trippy rumpus that defies gravity, a Copacabana beach-off, some Planet of the Apes-esque monkey business, and a literal dust-up at the Egyptian pyramids.

Entwining Irish folklore, dead-parent issues, eco-anxiety, and reality-show commentary, The Watched is an acceptable mid-tier horror. It'll be far more interesting to see what Shyamalan does next.

Classy but curiously empty, The Son may be a spiritual sequel to The Father, but it’s not its equal.