Showalter’s film gives Bakker a sentimental but effective final act, but never fully explains why this flawed but enormously warm human being became an unlikely icon.

Whilst its blend of influences make Emilia Perez unique, they also make it exhausting.

Hardy fans keen for a laugh will lap it up and forgive the slightly incomprehensible plotting, while those who just want a break from reality can happily chuckle at a comic book (anti)hero who is uncommonly free from the navel-gazing that afflicts bigger names of the genre.

Maria is both winningly camp and a little too po-faced for its own good, apparently unsure if it’s meant to be tongue-in-cheek or deadly serious.

To give Gunn his due, he crafts a world that’s as close to the DC Comics Superman that we’ve ever seen, with characters like the shapeshifting Metamorpho (Anthony Carrigan) adding real texture. It’s a promising start-point to his plans for the DC Universe.

It’s heaps of fun watching Curtis chuck herself around the set in the name of slapstick as Lohan delivers the sort of poised performance she built her career on 20 years ago. Freakier Friday isn’t a flawless sequel but it does supply a satisfying nostalgia rush.

Don’t Make Me Go is a strange beast: a film that feels a little predictable until it snaps and stretches credulity to the limit. Thankfully, Cho and Isaac’s affecting performances are a lot more nuanced than the writing.

Though Lou is derivative and schematically plotted, it’s gripping enough to get away with it, thanks largely to Janney’s committed performance.

Taken on its own merits, the live-action Zom 100 is a pretty fun time – a consistently amusing adventure that makes up for its slightness with an abundance of silliness.

The film lacks narrative drive and genuine comedy, then. As it barrels towards its inevitable conclusion, though, a funny thing happens. Out of the chaos emerges a rather inspiring ode to making it up as you go along, living in the moment, saying ‘yes’ and hoping for the best.

Watching Pine and Newton try and erotically spoon-feed each other bits of bacon while secretly trying to work out if they have to kill each other is more than enough to hang an entire film off. It’s just a shame the rest of the movie isn’t up to scratch.

If you loved Gladiator, it’s odds-on you’ll enjoy this too. It’s got all of the same exciting bits – swordfighting, rousing speeches, nasty poshos getting what they deserve. The problem is that’s all it gives you. You want to feel like you’re watching Maximus lift off his helmet and deliver that iconic monologue for the first time again. You want the thrill of a core memory being unlocked. You want to know you’ll be quoting Mescal’s lines to your mates in the pub for the next 10 years. Gladiator 2, piously respectful as it is, can only offer a faded memory of that experience. There was a dream that was Rome – and this is kind of it.

Never quite sure enough of itself to answer its own questions, this is a fun, sweet and occasionally funny film, but it’s never going to win a battle of the band movies.

While the film doesn’t necessarily offer anything new for fans of the genre, Kill Boksoon is still a tremendously fun action-thriller that more than makes up for its formulaic blemishes with an abundance of superb set-pieces, engaging domestic drama and offbeat wit.

With such conflict already swirling around the films, is there any hope that new sequel The Secrets Of Dumbledore might cast a spell over audiences? It would help if the plot wasn’t so convoluted.

Tetris tells a cracking story, but it suffers from The Big Short effect – the thinking that no mildly complicated script is palatable without throwing every gimmick possible at it.

Bristling with good ideas and two great performances, a rushed ending that dips into daftness ends up killing off what could have been a great pitch for an offbeat little TV show that we’re now never going to get to watch.

Dead Reckoning’s spectacular finale does well to bring things back on brand – seriously, the closing action tableau is as impressive as any you’ll see – but by then most will have stopped caring because their heads hurt.

Despite its superficially dark material, Wolfs isn’t meant to be difficult or challenging, it’s just an enjoyable time hanging out with some chilled, reassuringly handsome gents as they get to the bottom of their not-a-murder mystery.

It makes you wonder whether a documentary series may well have been a better option – even if the movie makes for a moving and amusing recap of Maiden’s incredible legacy.

The climactic setpiece isn’t quite an action spectacular, but it does feel tense and narratively satisfying.

The first two Deadpool films were funny and violent and original, but this one shows Marvel’s most gloriously inappropriate superhero at his very best and worst.

The film’s emotional beats don’t hit as hard as its musical ones.

There’s plenty to admire in Silverton Siege, but most of it comes from the true story itself, with the film squandering every opportunity it has to make an impact.

Turning an awful true story about a serial killer into an awful true story about the system that let it happen, The Good Nurse is an important lesson for anyone who tries to package Cullen’s crimes too neatly. Better still though, it gives us one of Chastain’s best performances; one of the year’s most believable superheroes.

The characters and story may feel a little stock, yanked straight out of a canon of teen movies from Bring It On to Bottoms, yet you won’t come away from this crowd-pleaser without a smile on your face to match those of the peppy Millenium Girls. And in that sense, Victory is victorious.

My Policeman suffers at the hands of a slightly depthless script, and all three sides of this sad and wretched love triangle mostly feel like standard-issue archetypes.

Watching the project as a whole is a bit like arriving at pre-drinks to find that someone has queued up 11 slightly same-y Miley Cyrus tracks in a row. Hardcore fans will be entranced; more casual admirers might want to wait until they all end up on YouTube.