It's true that many viewers have already fallen under its spell, but Zhao and O'Farrell have stripped away so much of what makes the novel magical – the time-travelling structure, the hypnotic prose rhythms, the internal monologues and the tiny, tangible details – that what's left is no more profound or authentic than any other costume drama set in ye olde days.

MGM's lavish adaptation of Enid Bangold's evergreen novel is an at times winsome but nonetheless enjoyable yarn that remains a popular favourite among adults and children alike, dealing as it does with the notion of endeavour and the conviction of pursuing one's dreams.

As unbalanced as it might be, One Night in Miami is a well-acted history lesson and a sincere tribute to the men, their friendship, and their inspiring cultural importance. It’s just that King and Powers’ treatment of that outstanding premise hasn’t quite made the leap from stage play to big-screen film; it has landed in TV-movie territory instead.

The film's message may be a clichéd staple of comic books - with great power comes great responsibility - but it's handled with sincerity and skill.

Coming on like an art-house Dead Calm (on which it was clearly an influence) Polanski's drama is slow-moving to the point of inertia, but patient viewers will appreciate the creeping tensions and Oedipal undertow. Not easily accessible, but a film whose scenes and themes stick with you.

A poignant, heartfelt tribute to a vibrant New York subculture and its flamboyant acolytes, captured on grainy celluloid, shortly before it got appropriated and streamlined by the mainstream.

A cheesy but good-humoured voiceover adds to the charm, while the events on-screen can often be exciting and fascinating to watch.

The actors keep the film going, at times by sheer magnetic on-screen presence even when the screenplay lets them down.

Compared to most US action adventures, The Northman is adventurous and distinctive. It feels compromised, but the great stuff outweighs the not-so-great stuff. To see or not to see? If that is the question, the answer is: see it.

Craig's performance is wily and joyful, and the film's biggest flaw is that there is too little of him, as Johnson often turns the spotlight from Blanc to other characters.

If more attention had been paid to plot and characterisation, this would have been a great rather than a good movie. Even so, it stands as a cinematic landmark. Without it there may well have been no Dirty Harry or The French Connection.

Parts of Dune: Part 2 seem just as monumental, lavishly bizarre and downright disturbing as anything that Jodorowsky and Giger can have had in mind.

With all due respect to Miller's bonkers vision, and his incredible ability to put that vision on screen, Furiosa seems like one of those spin-off graphic novels that plug the gaps between two films in a franchise, but which don't quite match up to the films themselves.

And as always in Peele films, clues and echoes are so detailed and carefully planted that it's hard to spot everything the first time through. He is still a master filmmaker, and even a mediocre Jordan Peele film is better than the strongest film of an ordinary director. Nope is that mediocre film.

Certainly the youngsters in Children of Heaven respond well to the direction of Majid Majidi and give off emotions and thoughts in such an unmannered way that many proper actors could learn loads.

But it takes on a quieter, more psychological tone and becomes infinitely better when Fiennes arrives.

While not the most exhilarating 80 minutes, this is a movie that will find much identification with anyone whose teenage years were remotely angst ridden, with Hausner capturing the simmering tensions of suburban life with assured ease.

Stewart is such inspired casting that she makes all this eccentric nonsense watchable.

The Order is a sombre, steadily paced, conventional drama. It's superbly acted by its charismatic cast, the locations and the period are evoked beautifully, and, best of all, the violent robberies and shoot-outs are staged with a nerve-jangling ferocity that recalls Michael Mann's Heat. But it isn't quite as gripping as the events deserve.

At the heart of "A Cry in the Dark" lies a true story so incredible that to have it made into a film could have tempted a sensational outcome of the most ridiculous proportions.

What's captivating about Bones & All is that it is so understated. The first few gory scenes suggest that Guadagnino has made an outrageous black comedy that gets its startled laughs and screams by contrasting the conventions of a coming-of-age romance with those of an X-rated monster movie. But soon Bones & All becomes entirely straight-faced. It isn't a horror film or a comedy, it's a sincere, sweet indie road movie that happens to feature bloodthirsty serial killers.

The Iron Claw's shallowness and eventual treacliness are especially disappointing.

As it is, I have a strong suspicion that Wicked will work much better as the first part of a double bill, with Wicked Part 2 being shown after an interval. But we'll have to wait another year to know for sure.

On one level, I realise, the dullness is the point. . . But I'm not sure that justifies the film's own efficiently plodding approach because it never seems as if Fincher is giving us the inside track on how assassins actually operate.

The racing sequences have enough energy and jeopardy to raise the pulse rate, but the rest of Ferrari... well, surely a film about high-speed cars shouldn't pootle along as slowly as this one does.

The chilling fact is that the real world has overtaken the one in the film. If you read any article about how AI is creeping into our lives these days, then M3GAN's killing spree will seem quaintly innocuous in comparison.

Again and again lines and scenes strain for comic effect, but fail to deliver the goods.

Craig's soul-baring, skin-baring turn aside, Queer is a proudly artificial curio.