Spielberg asks audiences to fondly remember their childhood, and to fall back in love with characters, songs and stories long forgotten. At the same time, there is a didactic notion that reality is always better than a synthetic replication. You can’t comfortably have both.

The film’s doggedly chronological structure – at odds with its ostensible privileging of psychology over history – sometimes leaves its personal observations feeling superficial.

The Dial of Destiny starts with a prologue that easily stands up against the classic trilogy, is often disarmingly poignant and never less than entertaining. Much of this is down to Ford, who has always excelled at bringing depth and charm to a character who on paper is fundamentally little more than a silhouette.

Jackson's efforts have peaked and troughed, but this final chapter will undoubtedly satisfy fans, and kindle a sense of sadness as this hobbit's tale finally draws to a close.

Black Mass is ultimately a decent film with some great parts, but unfortunately it falls short of the canon to which it aspires.

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.

All of Gilliam's little details are fun and there are some laugh-out-loud lines, but the actual story itself is never compelling and simply doesn't zip as it should.

Just as we feel that we have grasped the truth behind the image, it vanishes into thin air: The Real Charlie Chaplin is a Sisyphean task of the directors’ own making.

Whatever you take from Hitchcock/Truffaut one thing is for sure: you'll be reaching for a copy of the book and a box set of thrillers at your earliest convenience.

A funny and touching coming-of-age story that occasionally loses its way, just like its protagonist.

The screenplay balances the big narrative beats that this kind of broad crowd pleaser demands, along with posing more difficult social questions to which there are no easy answers.

While it is hard to imagine its themes of gender fluidity and female empowerment not resonating with contemporary audiences, Wash and his fellow screenwriters make these parallels irritatingly obvious, to the extent that characters constantly say and do things that feel implausibly millennial, and caricatures (especially male ones) abound.

It doesn’t hit the heights of former collaborations, but there’s a lot to drink in and appreciate here, and Mikkelsen’s all-dancing finale is one of the most exultant, triumphant moments in recent cinema memory.

Coherence is a debut of tremendous ambition and potential, yet sadly, despite some genuine moments of tension, the film ironically makes too many wrong turns and its convoluted themes fail to coalesce on a human level, tempering the initial intrigue and culminating in a plaintive sense of admiration, rather than enraptured adulation.

The performances are pitch perfect, particularly that of Marceau, who is superb in riding through the conflicts of the situation and the moments when the strong emotions riding over the niceties finally come to the fore.

Religious allegories, monochrome photography and folk horror trappings will draw in viewers as much as its meandering contemplations and languorous pacing may test their patience.

As the film drifts through dream sequences and diversions, the dramatic power of the chase fizzles in the damp of the woods.

Featuring McClure, Cushing and Monroe, these films based on novels by Edgar Rice Burroughs highlight that author’s penchant for adventure stories.

Despite a few sentimental missteps and a second-act move away from horror that will upset some hoping for more slashing, Happy Death Day 2U is a fluffy and surprisingly smart, if shallow, tumble through genre tropes.

Labyrinth of the Turtles is a charming and occasionally moving love letter to the legendary Spanish-Mexican surrealist, and at a spry 80 minutes, doesn’t outstay its welcome.

The film’s biggest weakness is its reluctance to interrogate the personas of its supporting characters.

The two stars stay on their game but their relationship is largely sidetracked in favour of fending off ghouls. While the heart rate may increase the creepiness dissipates, though The Autopsy of Jane Doe remains good genre fun - if little more.

The moral ambiguities and questions of legacy, friendship, family and integrity in Marco Bellochio’s The Traitor are the strongest points of an ambitious, punishing addition to a long line of films to explore the inner workings of the Cosa Nostra.

Free Solo goes some way to explaining just why someone would want to do such a thing, but is ultimately more captivated by the vicarious thrill of watching Honnold do his thing.

What distinguishes Skin to Skin from its counterpart is its subject, a man utterly dedicated to his craft and to its rich cultural traditions.

With some seriously fine performances and a simple but effective visual style that helps establish the film as a believable period piece, O'Connor's film is a solid adaptation of Michael Morpurgo's novel.

The tradition of star-worship and auteur theory has unnecessarily diminished the key roles of others. Thankfully, Making Waves gives these genius-level background figures their well-earned due.

There are few outright surprises in Maya, and though things proceed roughly as we might expect there is a deeper sort of emotional revelation that comes from letting the story proceed on its own terms.