The throbbing interpersonal strains intensify with a gentle logic, even if, tonally, the film does sometimes stray into a mid-tier streaming dramady serial at times.

An American impulse for neat endings and recognisable stories gets in the way, but Rental Family is still beautifully written and gives little windows into Japanese life, from a Monster Cat festival to a rural diversion with breathtaking scenery, with Fraser’s endearing everyman as an emotional linchpin that viewers will love.

It’s a shame the film that exists around this technical experiment oscillates between ludicrous and tedious, undermining any scares that might be generated through the wonder of creative foley and effective mixing.

Bilal Hasna shines as Layla, delivering a magnetic performance, but unfortunately the same can’t be said for the rest of the cast, who fall victim to the contrivances of a script that was maybe taken out of the oven before it was fully cooked.

As chaotic and unpredictable as the bands themselves, but that isn't all that surprising. There’s a lot to pack in.

There’s something of a ​‘so what?’ aspect to the film where it all comes down to the thrill of potential escape and, eventually, a whole lot of good luck.

With a mix of righteous anger and abiding serenity, Thornton terraforms the Wild West of his home nation into a spiritually parched landscape.

What lifts Mirza’s film above the pack is that it is alive with colour and music, her characters are endearing and, while a little fragmented towards the end, the writer/director at least makes sure it’s a pleasure to reach that point.

Rather than critiquing practices it purports to condemn, The Other Lamb becomes party to the evils it depicts.

The Bad Guys 2 wipes the floor with the original which, in hindsight, looks like a scrappy work in progress.

Tensing, thrusting, dripping with sweat and the promise of a good time after the curtain falls, Butler gets the moves, the voice and, most importantly, Elvis’ charisma down. Whatever flaws the film has, Butler’s Elvis is mesmeric.

As entertainment Napoleon delivers without glorifying his military record or painting the man as a hero. It’s a story about power, obsession and exploitation – which arguably is the story of history itself.

Along Came Love essays a type of bond where shared secrets eventually erupt, causing both tragedy and release.

Kramer fires on all cylinders in terms of imagery and tone – both are perfectly executed and entirely captivating. Aesthetically, this experiment proves to be a masterful exercise in high camp.

For all his puerile instincts, Gunn is able to create stakes in this film that feel real and meaningful – perhaps because of the care that has gone into fleshing out this group of characters over the course of three films (and all their supplementary appearances).

Tension between characters seems to evaporate all too easily, meaning it’s hard to really see any weight in their words or actions. This, combined with the flimsy conceit that a fundamentally corrupt institution can be changed from the inside out with a few good men, means that Gladiator II lacks both the gravitas and simple but satisfying narrative arc which made its foundation such a refreshing epic.

The entries into this wicked compendium are more interesting due to their differences rather than their similarities, suggesting that all types of people have their lives ruined by some variety of existential conundrum. And that is something that creates a sprawling lattice of deep human connectivity.

Sebastian gradually transforms into something more substantial when reaching towards a point about the cross-generational relaying of queer histories, but ultimately is too preoccupied with constructing a shallow character study to delve into more nuanced terrain.

Modern viewers, raised on decades of gialli and slashers, will have little trouble identifying the shadowy figure whodunnit. But there is still real pleasure to be had in wandering these halls of repressed madness, where everyone seems affected in one way or another by the tragedy of Kathleen.

By halfway, Trump gets more flagrantly cruel, delusional, thin- skinned and aggressive. It’s the kind of charismatic antihero’s journey that might fly in a Scorsese film – arguably the ultimate Trump film is The Wolf of Wall Street – but Abassi and Sherman’s take on the material is largely dutiful.

Despite Boon matching Graham’s quiet intensity and Riseborough’s low frequency depression with a gnashing rebellious streak, the three performances can’t lift The Good Boy from the limitations of its own tethered melodrama.

Not only does The Creator work as a good time at the movies, but it is also a reminder that mid-budget, (somewhat) original, crowd-pleasing stories can be told with aplomb.

Arbitrary continuity errors, heavy-handed symbolism, an agonisingly laborious pace and shallow characterisation leave a sour taste in the mouth, especially as the payoff is not gruesome enough to justify the means that get us there.

It’s a film with some decent feel-good credo (if that type of thing floats your boat), and there’s certainly value in having a film about mature characters that isn’t horrendously winsome and patronising.

The charismatic performances by Elordi and Edgar-Jones ensure that On Swift Horses is never less than watchable. They are both doing terrific work here, taking generous bites into material that does not match their commitment.

Despite the strong performances by Cumberbatch and Foy, the complex weaving together of symbolic strands feels contrived; they hang loosely together by a precarious thread.

The overall effect of this well-starched pantomime of Britishness is dizzying – it produces the peculiar kind of seasickness induced by cake-coloured period dramas when they don’t quite capitalise on their potential for quality kitsch, instead over-amping the nostalgic sentimentality, and neglecting the campiness that could make them so much more fun.

There’s an interesting metaphor here for McAvoy’s own career as a Scottish man who earns a crust by perfecting a range of accents and character types. Yet its feelgood arc is all a little predictable and soft-edged.