Not that it is completely uncool or completely un-fun. Birds of Prey is certainly more coherent than Suicide Squad, and more energetic than the lacklustre Charlie’s Angels reboot, which was Hollywood’s last attempt to assemble a trio of action heroines. Perhaps it counts as progress, too, that after so many years when gory, postmodern Tarantino rip-offs were about men, there is finally one that’s about women instead. However popular the film becomes, though, I doubt that anyone will adore it as much as it evidently adores itself.

Some people will dismiss the film as nonsense, and they could have a point. But Doctor Strange in the Multiverse of Madness is a huge amount of fun.

This laidback crime caper doesn't have a great deal more to offer, but there is something to be said for seeing the pals from Ocean's Eleven on the same screen again.

The story is thin, repetitive, and almost entirely dependent on the heroes being clumsy.

The Whale retains the pacing, structure and conventions of a solid but clichéd melodrama.

Jenkins has said that she would have liked the film to be 15 minutes longer. Some viewers might have liked it to be 15 minutes shorter. But, for most of the running time, they will be happy to be in Wonder Woman's uplifting company. In its old-fashioned, uncynical way, WW84 is one of the most enjoyable blockbusters to be released since 1984.

If a screenplay is going to be fixated on the history and purpose of storytelling, the stories within it have to be better.

Nonsense is no bad thing, but here it's poorly executed and from Raimi we've come to expect something better.

Reuniting the mismatched heroes from its hit predecessor, Carlos Saldanha's mix of race-against-time action and eco-friendly propaganda is actually an improvement on the original, not least for giving its funniest character - acorn-hunting rodent Scrat - a lot more to do.

It remains what it always was: a charming, escapist fairy tale.

Despite a brief lull midway through the 83 minutes, The Magician largely succeeds as a good short story, thanks to Ryan's captivating performance in the lead role. An unlikely road movie/buddy movie hybrid, it has all the makings of a cult hit among discerning DVD collectors.

Beavan's costumes are dazzling throughout, including Cruella's glittering red dress at the Baroness's gala. But when the costumes overwhelm the characters and story, there's something hollow at the film's centre.

Throughout, Colman and Cumberbatch's performances make the dialogue much funnier than it sounds in print.

If The Midnight Sky has the sombre tone of a high-minded art-house project, it has the bland design, sentimental characterisation and flimsy plotting of a children's TV movie. The story may have links with today's reality, but it never feels real.

For now, Sweeney's celebrity still overshadows her acting.

Despite all this Moana moaning, though, it's still a high-quality piece of work: a hurtling Disneyland rollercoaster ride that small children, especially, are bound to enjoy. The irony is that if it had been a television series, viewers might well have gushed about how spectacular it was. But as a film, Moana 2 wouldn't be near the top of any list of Disney's finest.

This film is as slick and shiny as Glinda's lip gloss, but it may also be just what its many fans want.

Like the first Road House, it's a guilty pleasure, but it's not as pleasurable as it should be.

It's hard to create tension when the stakes are so low. But the film's breezy tone and ultimately strong emotional depths make up for that flaw. This big-hearted Thor, thundering and sensitive, may be just the diverting hero we need right now.

While the picture falls well short of the Spencer Tracy-Katharine Hepburn comedies it seeks to emulate, it's slick and good-looking enough to while away a few undemanding hours.

It's warm, sweet, and perfect for wasting a winter afternoon.

Don't get me wrong. Plan 9 from Outer Space is a terrible film. A dreadful film. An atrocious film. But it does have some elements that are halfway decent, and it's unlikely that it would have a cult following without them.

The worst part of the production is the dull screenplay by Jeff Nathanson, which has Mufasa plodding through Africa, bumping into various members of the supporting cast, and having tedious soul-searching conversations that sound like therapy sessions.

A disorientating, maddening whirlwind of haunting sights, thunderous music and fiercely intense performances, Alpha confirms that Ducournau is a visionary artist. But once you've recovered from the brain-bashing experience of watching her latest film, it comes to seem a lot less satisfying and stimulating than Titane was.

Ultimately Rabid boils down to zombified sluts and shock moments but it's an irresistible combination that Cronenberg handles well.

The fights are about as sophisticated as watching kids in a playground, and they rely heavily on slow motion, as if that will instantly create tension.

It's a little hard to take Hugh seriously but he acquits himself reasonably well in this slight but entertaining thriller.

There's no questioning the strength of Lee's polemic nor the social and political observations that "Bamboozled" offers, yet as a piece of film-making it is undeniably flawed.