EPiC: Elvis Presley In Concert is a kaleidoscopic mix of documentary and concert movie, replete with a behind-the-scenes peek at the rehearsal process, much of it narrated by Elvis himself. Forget talking heads: Luhrmann has described his tribute as a “tone poem”.

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.

Top Gun: Maverick does exactly what its intended audience wants it to do – pile on the airborne thrills and steely military heroics without knotting things up with too much moralising or complex character development.

This take on Nosferatu may be essential viewing for fans of gothic horror but must be recommended with caution for everyone else.

Dodgy depictions of real-life celebs (such as Liam Gallagher) clash with the film’s fantastical tone, which itself can’t support Gracey’s attempt to address serious topics.

Like A Star Is Born, Maestro peters out after an astonishing first act that frontloads all of Cooper’s directing tricks.

A few of the jump scares are ruthlessly effective and, with its cartoonishly gothic tone, Hokum does what it says on the tin.

The Naked Gun isn’t big or clever and that’s just fine – silliness has been missing from comedy cinema for far too long now. It might not smell quite as ripe as the original trilogy but it’s never not wonderful to hear Frank Drebin let ‘er rip on the big screen.

A career of such breadth and note deserves deep exploration, certainly, but so much of the greatness of Morricone’s music speaks for itself that exposing the workings rarely enhances the piece.

For better or for worse, Raya And The Last Dragon is not your traditional Disney princess story. It ambitiously tries to subvert those tropes by going against the grain with a dark narrative about human mortality and selfishness. But the film forgets storytelling fundamentals, instead jumping the gun with a mishmash of influences that leads to an uneven plot and unsatisfying finale.

Highest 2 Lowest’s action moves with pace and the dialogue is full of the rhymes and hilarious street slang Lee typically peppers his films with. However, it doesn’t feel shot and cut with his usual vitality.

Certainly, it’s not for those looking for fist-pumping sporting triumphalism. But in this age of franchise vapidity, it’s still a film worth grappling with.

Despite its problems though, One Of Them Days still makes for a fun ride. This is largely down to Palmer and SZA’s undeniable chemistry, perfectly capturing the sometimes chaotic, deeply loyal nature of female friendship.

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

Unfortunately, its intriguing conceit is also hampered by comatose chemistry, a claustrophobic setting and a slew of dead one-liners.

Exploring themes of ancestral reparations and generational grief, The Piano Lesson is powerful on paper, but unremarkable on the screen.

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.

A solid, charming, but ultimately inconsequential Spy x Family outing.

At its best, The Blackening is a fun, laugh-out-loud blockbuster that sends up the many genre clichés surrounding Black people in horror (mostly the notion that they always die first in horror films). At its worst, though, it’s a reductive slasher-comedy where most jokes earn a measly huff.

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.

Is it scary? Rarely, to be honest. But it knows how to twist the knife, at least.

The Kitchen loses some of its potency by balancing too many elements – the world-building, societal context, interpersonal relationships and the paternal bonding that deserves to be the nucleus.

While there are glimmers of drama, there are also extended sections where this deliberately bewildering film gets a bit boring. Despite this, Sasquatch Sunset is worth seeking out if you have a taste for the absurd.

It’s a well-intentioned film with some good songs which, despite having more than two hours to come together, doesn’t quite do so.

For a film about feats of next-level bravery, Thirteen Lives is a little too cautious to really soar.

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

You can largely predict what will happen, but that’s okay. To All The Boys: Always and Forever is sweet, sleek and has plenty of charm. Sometimes, that’s all you need.

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.