As one voyage turns to two, three and then four, Ice and the Sky feels increasingly formulaic in structure; however, it remains a thorough and fitting tribute to an extraordinarily dedicated and humble individual with an "incontestable message".

When You Finish Saving the World is fine. It’s well made, witty, and Wolfhard and Moore are effortlessly convincing in their roles; Wolfhard shucking off his Stranger Things image in the process. The problem – if there is one – is in the smooth snark of the title. There are sharp edges here that never bite.

Six films in, Bettinelli-Olpin and Gillett deserve credit for crafting two set pieces that manage to emphasise their characters’ vulnerability and paralysing fear in surprising and unique ways.

Unsurprisingly, Jackman is as perfect for Wolverine as he was when he first played the character 13 years ago. Convincing whether going berserk on a troublesome ninja or showing Logan's inner turmoil, he's a commanding presence throughout and, as you might expect, is the film's engine.

Despite all this, Sicario 2 remains highly watchable thanks to what it does preserve from the original: its mood of constant dread and impending doom.

Much like the multitude of heady jazz numbers that flow throughout the film, Paris Blues is a cool, breezy and laid-back character-led romantic drama with strong turns by the four likable leads, not least the late, great Paul Newman, effortlessly exuding that trademark piercing blue-eyed intensity and magnetism.

One of Birds of Prey’s great pleasures is that it tells a Gotham story without having to tell the Gotham story: the adventures of Harley Quinn and associates are not at the centre of some grand narrative, and they are all the better for it.

The metaphors of colonial history, the subjugation of women and Aboriginal peoples, vicious social ills and a nation’s hidden guilty past are all alluded to. But their treatment in The Legend of Molly Johnson are not developed to the extent needed to leave the lasting gut punch, and change of consciousness, this admirable project could have achieved.

Adapted by Cianfrance himself, The Light Between Oceans feels overly tied to its previous form.

Dragged Across Concrete is a unique take on ultraviolence in an age whether the production of films is becoming increasingly polarising. Imbued with a particular stand out performance by Gibson breathes life into Zahler’s mature approach to genre filmmaking.

The Commune is a film built around the intangibility and melancholy of childhood memories. What should have been a gritty work about a generation confronted with the implausibility of their beliefs is ultimately a banal and self-absorbed drama.

Like Skyfall, Spectre is loaded with allusions to the previous films in the franchise, undoubtedly providing much glee for Bond fans. The nods, quips, and general formula that audiences have come to know soon becomes weary and tiring, however.

Bitch Ass is an off-the-shelf genre flick with some decent ideas and a fun cast, sadly lacking in sufficient inspiration or originality to merit recommendation.

Yes, the cynical argument that Sony needed a franchise to hold its own against the might of Marvel may have something in it. But put the cynicism aside and what you have is a hilarious action-comedy that puts four great comedic women front and centre, with Feig dexterously balancing homage with originality.

Is Raimi’s latest effort as rich as Spider-Man 2, as revolutionary as The Evil Dead or as fun as Drag Me to Hell? No. But within the self-imposed confines of the studio machine, Multiverse of Madness is about as entertaining as it’s possible to be.

Sweet Red Bean Paste is a modest film which seeks profundity in the detail of life.

Hawkins smartly keeps the details of Mannings’ leaks – both in their content and the manner of their distribution – to a tight segment at the film’s mid-point. The effect is to create space for the film to explore something altogether messier and contentious – Manning’s identities as a trans woman and a political activist, and the problematic, even dangerous, ways that her private self and public persona relate.

A challenging and very well considered inspection of familial disintegration, featuring strong performances, Human Factors is a solid entry in the Sundance World Cinema Dramatic Competition.

Pacing issues and clichéd dialogue between Jamie and Cathy, however, can make proceedings tedious at points. Fortunately, the spectacular acting from both Kendrick and Jordan more than make up for it. Their on screen chemistry is tepid and duets feel forced, but when each is on their own and belting out their various parts, there's a definite pull to each.

In the end, it’s more disappointing than bad. A great cast and an interesting period of history (even if it has been done to death on screens and in classrooms) wasted on a sombre muddle that wants to have both the gravity of Shakespeare and a fresh, dynamic perspective.

Franco has a hardlined style and a kind of story that play like an apprentice Haneke. However, as each film arrives, the power diminishes, because the stories are now easily predictable.

With a tightly-woven plot, dazzling cinematography and a razor-sharp cast of characters, Medusa Deluxe is Brit neo-noir at its knotty best.

Alongside The Wrestler, The Whale is Aronofsky at his most compassionate. It’s a gargantuan invitation to empathy and understanding.

Marsh has crafted a compelling film, yet for all the fine performances and intriguing subject matter it is never quite compelling.

Besides the overt journey for Christopher Robin of rediscovering some childhood joy, this film is a poignant exploration of the way in which we sideline important friendships at the behest of professional advancement.

WW84 is far from perfect: its length and fumbling of Minerva’s arc are chief among its sins, but equally there are no denying its simple, vibrant charms. Much like Christopher Reeves as Superman, Gal Gadot simply is Wonder Woman – and this latest entry is undoubtedly her most fun, spectacular and charming yet.

For every slick moment of style, there is an immensely somber undercurrent that matches its beating heart and occasional levity.

An amalgamation of Disney's heritage, current status and future enterprises that starts in the evocatively rendered 1964 World's Fair, Tomorrowland is a refreshing and well-intentioned standalone piece that revels in a creatively manufactured appropriation of the conglomerate's existence.