It’s comedically uneven and overly distracted by side-characters, but when Clerks III gets to the heart of Dante and Randal’s decades-long friendship it’s enough to assure you that Kevin Smith is still open for business.

Though not without charm, and some splendid CGI, this scattershot grab-bag of good intentions results in a bit of an emotional flatline. This puppet will not tug on your heartstrings.

There’s a fine line between depicting the way Marilyn Monroe was underestimated, and joining in with that assessment. Blonde doesn’t always wind up the right side of that line, but has spectacular visual fireworks to spare.

It works better as a weird relationship movie than a murder-mystery but See How They Run is the whodunnit as hoot, with lots of laughs, oodles of style and played with verve by a quality cast. It also reconfirms Saoirse Ronan as a comedy god.

Hypnotic, maddening, pervy and disturbing. In other words, vintage Cronenberg. The doomy slow-burn won’t be to all tastes, but its abstract, feverish images are pure nightmare fuel.

Pugh is superb, while Wilde confidently steps up to a bigger subject and budget to deliver a slick, beautiful film. It doesn’t quite stick the landing, but its flight to that point is fascinating.

The film is engrossing and beautifully mounted, and is sure to not disappoint anyone who’s enjoyed McDonagh’s previous rough rides.

It doesn’t always work, but an unexpected, perfectly pitched bad-guy turn from national treasure Hugh Bonneville makes I Came By just about worth stopping by for.

The stiffness in the writing and general lack of subtlety leave this feeling underwhelming and overwrought. As a moral fable, The Forgiven offers little genuine critique.

Elba’s performance as a lonely Djinn with a bottomless reserve of charm, paired with Miller’s unbridled energy, make this a modern fairy tale worth seeking out.

If it adds little in the way of dissenting voices or a different viewpoint, Explorer tells the tale of a remarkable, stranger-than-fiction life and emerges as an affecting, entertaining portrait of a true eccentric.

Remember the name Nana Mensah — as an actor, writer and director, Queen Of Glory is a hugely impressive calling card.

In a crowded marketplace, new superhero movies need a lot to stand out; despite some solid work from Sylvester Stallone, it’s not really clear what Samaritan is bringing to the table.

An old-fashioned, B-movie creature-feature with some CG gloss. Beast is as predictable as anything but it’s a fun, silly, well-made film about a man punching a big cat.

The charming performances make this a win for colourblind casting. On the list of period romcom requirements, the sweet love story ticks all the right boxes.

A simultaneous celebration and subversion of popular surfing culture, Girls Can’t Surf makes for a dynamic cinematic experience, celebrating the real badasses and unsung heroes of the sport: women.

Despite being anchored by moments of real emotion and good performances from James Purefoy and Imelda May, One And All often feels like it’s taking on water while drifting further out to sea.

A slow-burn, sluggishly surreal horror, The Feast takes its time getting to the point — but the bloody final act is something to really sink your teeth into.

Weighted by a reliably mesmeric performance from Alan Cumming, this visually varied doc misses an opportunity to ask big questions, but still manages to pack a punch on a small scale.

Despite some lovely cinematography and interesting insights into what makes the Parisian landmark so special, Eiffel is a forgettable forbidden love affair.

While still a lurid sequel to a ropey slasher movie, Orphan: First Kill is refreshingly clever, unpredictable and gruesome. Isabelle Fuhrman’s Esther deserves three more sequels and a ‘Versus’ movie with the Stepfather or Chucky.

Tense when it needs to be and awfully good fun throughout. Stupidity reigns supreme for these rich kids, but the filmmakers are smart enough to make Bodies Bodies Bodies stick the landing.

It’s an enjoyable, super-faithful cover version but Laal Singh Chaddha is like a box of chocolates: you know exactly what you’re gonna get.

The action is well-shot, and the buddy dynamic is fun. There’s plenty here that’s familiar, but it’s actually not a terrible way to spend a couple of hours with your Familiar.

Bearing a passing resemblance to both Man Bites Dog and Chopper, it’s hardly original, but still a laudable example of proficient guerilla moviemaking.

Effortlessly the best Predator movie since the original, Prey proves that, against all expectation, there’s life in the franchise yet, not to mention a thrilling new lead in Amber Midthunder.

If you can stomach the wobbly lessons, the sometimes clunky writing and the offensively bad Irish accents, this is a perfectly fine thing to pop your kid in front of for a couple of hours.

The action is first-class, and Brad Pitt and Aaron Taylor-Johnson are having a blast — but with all that hyperactive style and cartoonish violence, you’ll be ready to disembark by its final destination.