With a forgettable, borderline generic, plot and direction lacking flair and artistry, it’s not a disaster, it’s just a disappointment.

Berger’s film flits between minor and major keys without finding a harmonious balance. It’s a workmanlike addition to the anti-war genre, and you’ve almost certainly heard this tune before.

A horror film about the brazen folly of attempting to domesticate a chimpanzee, or even about the terrifying reality of rabies (which is almost always fatal once a patient is symptomatic) should work. Unfortunately Primate has little interest in its own subject matter – technical plot holes and interchangeable characters aside, there’s no consideration given to Ben’s role within the Pinborough family, let alone the macabre history of domestic chimp attacks in America.

Unfortunately, writer-director Chloe Domont’s debut drama fails to make the most of its scintillating premise.

Despite occa­sion­al­ly indulging its worse instincts, there’s still a sur­pris­ing amount of fun to be had with M3GAN 2.0 – a big­ger and fun­nier sequel which could stand to pull back on both of those elements.

The film is underscored by endearing and comedic moments that keep it from falling flat, but it’s ultimately challenging to see beyond the structurally rote contrivances on display.

When Autumn Falls strays into some interesting, ethically thorny terrain, but Ozon always opts for the easy, often crowd-pleasing solution rather than to have things become too dark or alienating.

The film sorely lacks for surprise or tension, even while it does offer a likably earnest survey of the economic hole that many found themselves in while the world got sick.

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.

While she shares title billing, Ono is still framed in relation to her husband. And yet, even in passing, she emerges as an engaged, inscrutable and passionate artist: creatively confident where John seems adrift.

The film is at its best when holding back details and sculpting fine character details, but the intensity is ramped up far too early and it becomes increasingly tough to take the plot seriously, or build an emotional connection with its climactic revelations.

Unfortunately, the schmaltzy mumblecore sensibilities that made Ansari’s Master of None a successful outing don’t translate in Good Fortune, an observational comedy of paltry observation; a frothy, big studio concoction of little substance and even less style.

Director Ryan White delivers an entertaining, albeit highly selective account of this project, brushing over any details that might lend this story a modicum of existential weight.

Its final act is composed of such undercooked plot developments that its emotional stakes lose all import.

The film works best when it allows the boys to simply shoot the breeze and discuss the lives they’ve led up to this moment.

As demonstrated by the film’s final third, Atef evidently has a skill for crafting humane, sometimes contradictory characters and for drawing out compelling performances. And yet as interesting as the interpersonal drama should be, it might just leave you, as Monty Python would say, pining for the fjords.

The film keeps us guessing to the end, although a lack of character development and some ponderous plotting means it’s hard to care too much about the fate of Pete and the others.

But while The Fall Guy is an affectionate and occasionally entertaining tribute to the people professionally flipping cars and taking punches, it neglects the other crucial aspects of what makes a film enjoyable, resulting in a popcorn flick that quickly fades from the memory once the credits roll, sadly lacking the staying power of any of the action greats it references.

It’s a film not without occasional moments of spark, and flits along quite happily, but Splitsville seems continually intent on undermining itself, and in the process becomes totally forgettable.

The film feeds into the very power structure it sets out to debunk, a frustrating miss that threatens to cloud Comer’s poignant performance.

For all its reliance on gore and good old-fashioned jump scares, the film rarely raises the pulse.

Where Gump managed to steal a nation’s heart with its hokey aphorisms and up with people outlook, Here actively repels with its generic insights into the evolution of family, society, civilisation, the whole bit.

It’s laudable that Maclean wants to breathe new life into unabashed “B” material, but unfortunately the idiosyncratic touches have usurped rather than bolstered what should be robust, time-honoured noir framework, and we’re left with a film which leaves only a superficial impression and little sense of purpose.

Whether you laugh with or at Marry Me, the odds are you will laugh. So that’s a win.

Andrea Arnold is an exciting director who knows how to create a thick patina of realism within which female protagonists stoically pursue improvement. It’s a little crushing, therefore, that American Honey feels unmoored from anything approaching real life.

There’s an easy chemistry between the pair, and Hassan and Ingar do well to ping off of each other with their mouthy repartee and petty squabbles. The script, unfortunately, never really meets them where they stand, nor does it hit a level of authenticity that allows for any kind of true dramatic immersion in the occasionally farfetched situation.

On paper Stewart seemed like an eccentric casting choice, yet she slinks into the material with grace and ease, and her trademark arsenal of half-met glares and anxiety-dashed grimaces perfectly express her desperate yearning to be free of prettified toff prison.

While Pixar films have included romance before, there has never been an explicit rom-com made by the studio, and Sohn’s ambition is admirable here, as he attempts to bring new ideas to Pixar amid the glut of sequels and prequels the studio has favoured lately.