Tom Duggins

What we’re left with is a sort of Blairite middle-ground where punches are pulled and no one really comes in for too much flack. Where’s the fun in that?

It has its moments, but the film is guilty of being fun but forgettable, much like those numerous spy stories cooked up on typewriters in the quiet hours of night and then lost to history when the guns fell silent.

The film should scratch an itch for the Bowie obsessive hungering for a decent take on the overall mythology, but at the same time, it may leave that very audience wondering when, if at all, the South London lad will get a more comprehensive big screen outing.

The master of cerebral action cinema is back, and whatever lessons were learnt about the triumph of the human spirit during the making of Dunkirk, they were swiftly forgotten for this new piece of filmic flimflammery.

Sadly, Radioactive is as lifeless and inert as a rock, badly let down by a dismal script, and carrying all the half-life of an unfinished fish dinner.

Conceived as a biting commentary on inequality, sweatshop labour and…well, greed, the film lacks fluency and laughs, rarely managing to lands its many upward punches.

For all its heart and warmth, the desire to offer as many contrasting viewpoints as possible leads to a sense that the biggest elephant in the room isn’t really being dealt with. Support the Girls, ultimately, is a film about an industry built on sexism, that prefers not to dwell too long on the question of sexism itself.

An imagined biography of a fictional pop star, the film is ambitious in its structure but only occasionally flickers into life.

Venom is a desperately confused piece of work which has only a few compensatory pleasures to offer along the way.

It’s an enjoyable but static viewing experience, where even the tales of wild parties, disco dancing and sex become worn out through overuse.

It mostly holds together, but you'd have to hope that David Brent: Life on the Road represents the farewell tour.

Whatever strange alchemy went into this film, nothing is so strange as how compelling it proves to be when you approach its premise with complete seriousness.

Colossal possesses some real depth in its acting and its description of human relationships, it's just a shame that when it sinks a few beers and gets up to do the monster mash: things get a little too silly.