Even if it doesn’t quite go beyond the bubblegum, Corbet’s fusion of A Star Is Born melodramatics with art-house stylings is cold, raw, dark filmmaking. And Portman, like her quiff, is an acquired taste but immense.

Seemingly wishing to start another Conjuring off-shoot, this will be lucky to get out the gate. Without an original or fresh bone in its body, The Curse Of La Llorona smacks of unelevated horror for the very easily scared, not to mention pleased.

Asking questions of moral beliefs and societal responsibility, a plausible dilemma is framed like a fairytale. While the storytelling is neat, aesthetic quirks that entertain also remove any potential urgency.

Efron gambles with his image, but he knows when to up the star power. It’s perhaps fitting that the film falls flat when he, playing a killer who loved the spotlight, leaves the screen.

Finding laughs in the current global political quagmire is a tough ask. But Long Shot manages to spin a winning mixture of warm-hearted fantasy and comedic edge. And Rogen and Theron shine.

Styx is a gripping sea adventure that mixes thrills and spills with thoughtfulness and compassion. The MVP here is Wolff, who superbly etches emotional disintegration alongside amazing physical prowess.

Jia’s grip slackens slightly at the end but, especially in its middle section, Ash Is Purest White is engrossing, surprising and affecting, held together by a towering performance from Tao – her gaze alone should carry a licence to kill.

Bel Canto pushes a hard message about cultural misconceptions and boasts a promising and diverse cast, but only really makes an impact in the first and final minutes.

A victory lap that moonwalks through the best part of the MCU back catalogue and emphasises emotion as much as action, this is an intensely satisfying piece of blockbuster filmmaking.

The anxieties of a teenage girl weigh universally heavy. Burnham brings wisdom and immediacy to a generation raised online, his debut feature already cementing his presence as a remarkably sensitive filmmaker.

As well-constructed, unique, hardboiled and brutal as Zahler’s prior films, but this one leaves a less welcome bad taste in your mouth, thanks to its repugnant heroes and racial stereotypes. Impossible to dismiss, but hard to warm to.

Despite strong performances from Cookson and Dench, this potentially exciting espionage tale is dreary and forgettable.

Despite a familiar, somewhat tedious set-up, Greta truly comes into its own in the final act, a ’90s thriller throwback elevated by Isabelle Huppert tearing up the scenery and dancing all over it.

The Man Who Killed Hitler And Then The Bigfoot is a strange but enjoyable mishmash of genres and ideas held together by the gravitas and class of Sam Elliott.

Either choose to dwell on Little’s formulaic storyline, or be charmed by the confident comedic performances of its three stars. One will lead to an infinitely more fun time at the movies.

Plenty of shock and gore, and David Harbour is more than worthy to wear the horns. But this is a reboot in need of a reboot.

Jessie Buckley impresses again in the story of a woman who wants and needs so much more. A seemingly well-worn narrative becomes a more interesting look at the responsibilities and rights of being a mother with a dream.

Mid90s is funny, observant and true. If the Wu Tang Clan and Ren & Stimpy references don’t resonate, the portrait of finding your people and them schooling you in the world will. Swear-y and lovely in equal measures.

Happy As Lazzaro is s-l-o-w and its narrative twist will alienate some. But this is deliberate, singular filmmaking, at once poetic and down-to-earth, from an unsung talent. Let’s be clear: Alice Rohrwacher should cherished.

Wonder Park has some fun bits (a narcoleptic bear) and a worthy sentiment around the value of going through tough times but it’s too hectic and untethered to land its loftier ideas. It aspires to be Inside Out but falls way short.

A decent, if inessential, take on one of Stephen King’s best novels. Sometimes original is better.

A charming family-friendly story about adventure and friendship — told with bar-raising artistic craft and technical skill. We’d expect nothing less from Laika.

An eccentric, funny yarn filled with eccentric, funny characters, Audiard’s oater deftly twists Western tropes, sending its charming, ramshackle heroes scurrying from one bizarre incident to the next.

An impressive sift through one of the UK’s weirdest pop-cult phenomena, even if it doesn’t manage to unpick the strange relationship between Sievey and Sidebottom.

An enchanting blend of Disney twinkle and Tim Burton’s dark whimsy that’s at its best when venturing off the beaten path. Come for the super-cute elephant, stay for Keaton and DeVito’s glorious reunion.

The hardest power to depict onscreen is the wisdom of Solomon, but Shazam! makes clever decisions, mixing middle school snark with disarming sweetness. And — yes — it delivers the requisite lightning-strike punch-’em-ups with considerable force.

Sprouse and Richardson are proven heavyweights in the young-adult pocket of Hollywood, but this soft-hearted teen romance spreads on sugary sentiment too thickly to leave a lasting message.

A stunning sophomore effort from Jordan Peele.