Although there is certainly tension at moments and Driver once more proves himself an actor of great promise, Hungry Hearts falls between two baby chairs - neither satisfying as a thriller nor convincing as a drama.

Written by first-time screenwriters Darren and Jeff Allen Geare, The Retaliators deserves praise for its storytelling and plotting. For a good hour or so, the direction in which the film heads is destination unknown.

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.

Wilde has already proven herself as a director with her brilliant debut. Even the hackneyed sci-fi concept behind Katie Silberman’s screenplay wouldn’t have been too much of a problem if it wasn’t for the performances.

Beneath the veneer of fake tan, rippling muscles and feigned ecstasy lies a striking amount of heart, soul and sincerity of emotion.

Whether one can get on board with such nonsense determines the subjective success or failure of King of the Monsters.

Pink Flamingos remains a delightfully repugnant cinematic treasure. Watching Divine as she struts her stuff amongst the genuinely dumbfounded residents of downtown Baltimore, perfectly encapsulates with Waters was reaching for with the film.

The aesthetic, tone and performances result in a package that sits alongside similar Hollywood fare comfortably. However, in an industry that demands even the most famous spies to try something different, Nalluri's film never stands out.

Looped around a paper-thin narrative that makes hardly any sense, Secret of the Tomb displays signs of fatigue right from the start.

Despite the best efforts of the filmmakers, In the Heart of the Sea is a few knots away from being the transformative cinema experience intended.

Verbinski doesn't skimp on thrills, mind you. There are jump scares galore, acts of literally penetrating violence and the denouement goes for full-on operatic perversity. Fans of Gothic horror - treat yourself and take the cure.

As blades pierce flesh and Carpenter’s iconic theme swells, the film wrestles with provocative imagery it’s not entirely in possession of, but which is nevertheless rich and layered with meaning. Whether transcendental, idiotic or both, the effect is overwhelming, a catechism for a series that has defined modern horror.

The humour is scant and there's no real risk of peril (Grant George's nephew and his dastardly plans seem more psychopathic than threatening). Yet when you have a film that's colourful, easy on the eye and full of positive messages about friendship and trust, then kids will be happy.

With references to other sci-fi films, however, it's obvious Project Almanac is aware of its genre clichés, strengths, and faults, and that makes for a genuinely fun time for film buffs.

The blend of influences does feel hackneyed, at certain junctures.

This is a punchy and promising debut from Pront.

It's an enjoyable jumpy imitation.

Sadly, In Secret's script is so loaded with dud lines that any of the more successful elements are quickly erased from memory.

A resolutely offbeat film which offers a richly rewarding and affecting viewing experience if you’re willing to embrace it’s esoteric flourishes.

As much as the sequel aches to remind audiences of what they liked first time round, it struggles to establish itself as its own unique entity.

While the first half has a brisk, upfront approach, the final hour is gobsmackingly dull - with emphasis on the smacking.

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

Unlike some of the other blaxploitation titles from that time, Foxy Brown is more than just a curio piece. That’s partly down to its iconic lead, but it’s also due to a strong feminist attitude which exists within that riotous, eager-to-entertain, exploitation framework.

What’s most repugnant about Project X is its utter lack of moral consciousness, with the overriding message being that such disregard for property and community deserves little more than a slap on the wrists – a message that couldn’t be more ill-advised in a time of such amplified social despondency.

That’s not to say that it’s a complete wash-out. The film comes to vivid life during Remo’s ridiculous yet hugely entertaining training sequences, and there are flashes of inventiveness and personality elsewhere. It’s just a shame that more often than not, the film feels like a stunt performance showreel – complete with distracting pre-CG concealing wire work – with not enough investment in character or pacing.

Skillfully mixing elements of horror while never alienating its core PG demographic, The 'Burbs also benefits from a wonderfully playful score by the late great Jerry Goldsmith. While the film bottles it slightly at the end with the obvious, neatly-tied-together resolution which would have benefited from maintaining an ambiguity, the enormous sense of fun established by Dante and his cast in the run-up more than makes up for any shortcomings.

The Son, though perhaps not as original and accomplished as The Father, is nevertheless an affecting, empathetic and intelligent drama.

Where Snyder’s previous film at least tried to consider the ramifications of Gods living among us, Justice League is about nothing other than the vapid, commercial need to make a Justice League film.