Insidious: Chapter 3 is unquestionably lightweight material and really all down to the pleasures of ghost train frolics, but such are the uncomplicated joys of the horror movie.

Southside with You doesn't leave a lasting impact because it plays all elements altogether too safe.

Homecoming gives an empathetic portrait of a family in a phase of change. Girls are becoming women; a mother is beginning to return to life. It has the promise of a prelude.

For a debut feature, it’s impressive and thoroughly committed to its vision of Hell on Earth. The atrocities, bleak tension and stomach-churning imagery are unstoppable, the director deeming them necessary for maximum impact.

Given its place and time, Ammonite’s coldness is perhaps apt, but its stiff upper lip may well not do enough to make yours quiver, either.

Astronaut is a sweet film that could have done with more fire under its belly earlier on.

A dark and slightly hysterical portrait of fundamentalist fever.

There’s just enough thrills and gills here to satisfy both monster-movie junkies and advocates of multi-million dollar US/Chinese co-productions.

It might be that there’s a meatier version of the film – a Carlos-style miniseries perhaps – but as it stands, shifting between a lighthearted caper and more consequential political tragedy, Wasp Network is an entertaining fumble.

An otherwise intelligent piece that favours deftness of touch over bombastic thrills, A Most Wanted Man is an efficient espionage drama that, whilst in no way revelatory, is attuned to its source material's non-heroic and morally ambiguous approach to a well-worn genre.

For the most part Swiss Army Man is a visually unique gas and only feels bloated when it tries to hitch its wayward originality to some sort of real world application.

The superb editing of news footage, the home video recording of the King beating and a dizzying amount of imagery from the heart of darkness during the riots throws us into the unfolding disturbances with minute-by-minute immediacy.

Accessible to newbies and satisfying to fans, it’s way past time that brilliant performers like Larson were given their time in the spotlight. But Marvel, please, can we sort out the colour?

A mix of Loachian social realism and Death Wish-style violent fantasy.

It makes for entertaining viewing but its power is undermined by a ultimate lack of insight amongst the debauchery.

Thankfully, some typically rich voice-acting and a plethora of visual gags help to gloss over a number of uncharacteristic stumbles.

It's hardly original nor necessary, but it's a fun and absorbing escapade on the Seven Seas.

In Abigail’s longing to see beyond the high valley walls with the kind of scope of an atlas gifted to her by Tallie, The World to Come envisages a future reality not yet visible over the horizon, but shown as the slightest glimmer of light.

Félicité is an emotionally effective heart-tugger, thanks largely to Véro Tshanda Beya's dignified lead performance.

Home is funny, colourful and fast-paced.

A rollercoaster ride of tongue-in-cheek cliché, there's plenty of fun to be had with this cheekily reverential horror; yet, a dependence on the sexualisation of the female form anchors the film firmly within 'knowing' horror misogyny.

Kore-eda has unquestionably added a new, intriguing angle to his meditation on family life in contemporary Japan.

Schechter's latest marks its arrival with a fanfare of style and sass, but lacks the necessary bite to leave a lasting impression.

There's a measured, almost clinical precision to how On Body and Soul is shot that, while in keeping with Mária's great fragility and terrible need for affection, prevents the film from really delivering.

Whishaw is utterly compelling and committed to this performance, and we watch the slow-motion car crash unfurl with mouths often agape, but Surge needs more depth to really leave a lasting mark.

As a neo-noir Holy Spider offers a tightly-woven procedural crime thriller, bolstered by a superb central performance from Amir-Ebrahimi and gorgeous, lurid aesthetics. A steadier hand marshalling its themes and a more disciplined third act might have tipped Abbasi’s third feature into being something truly special: as it stands we are left a very solid, smart and satisfying thriller.

As a mechanism the film functions very well indeed – but as a film, as “a machine that generates empathy” as Roger Ebert had it, Quantumania falls vastly short. Still, one might argue that we do not board roller coasters expecting art, and so as an entertainment at that level it is hard to deny that this latest entry fulfils its purpose handsomely, providing all the thrills and spills of the fair.

While nimbly handled, the closed loop of the film’s structure speaks to the brittle circularity of trauma, but prohibits it from plunging fully into its depths.