Sheryl is brisk but pretty comprehensive.

Almost completely built out of clichés and corn, there’s very little in Plane that hasn’t been seen before, but it very rarely matters. Exciting without ever really thrilling, it’s an immovably solid actioner – a fun Friday night pizza movie packing a handful of relentlessly unfussy action scenes that deliver exactly what they promise.

You’d be hard-pressed to call it moving, but at least there’s an emotional narrative that drags us through the grisly bits. Sick, dark and laugh-out-loud nuts.

The clarity, dynamism and sheer scale of the action is near enough unparalleled, and it’s hard to argue you don’t get your money’s worth. Still, Cameron is going to have to think outside the (Pandora’s) box and change the game for any future installments.

Robbie and Pitt still provide enough star-wattage to power most viewers to the end-credits. Babylon does babble on (sorry) past its natural conclusion, but what party ever ended when it was supposed to?

This is a horror that’s in love with scary movies; a post-modern remix of genre classics filmed through an arthouse gauze that never obscures its goofy sense of humour.

If this is a bookend to his incredible performing career, at least it’s a respectful and tender one.

As summer blockbusters go, it’s only ever really mildly diverting. But bringing us a first Latino superhero in a DC movie, ably played by the charming Maridueña, is still to be applauded.

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.

If we’re to understand Hoon’s life through his footage, it’s as a victim of a lifestyle that amplifies not just the sounds in your head but the problems at your core.

Scream movies usually follow the same, tried-and-tested format, but directors Matt Bettinelli-Olpin and Tyler Gillett should get credit for an attempt to reinvent their villain.

Saltburn isn’t the most talked-about party of the year, but you shouldn’t miss it all the same.

There are glimpses of what could have been a decent film here – something charming, witty and exciting, with a cast of greats given room to soar – but whatever might have been is still stuck inside the pages of the book.

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.

The Lost City isn’t cutting-edge entertainment, but it is a decent action film boasting a great cast and some good jokes, without a superhero in sight. That alone is cause for recommendation.

Somehow, Raimi – with strong, grounded turns from Cumberbatch and Olsen – just about keeps the film from running too far off the rails.

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.

If you’re looking for a good-old fashioned romp, stylishly made and frequently hilarious, this ticks all the boxes.

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’s a smart and stylish sequel that’s endlessly entertaining; but more than that, in the dumpster fire of 2020, Wonder Woman 1984 is a two hours of hope filled escapism – something all of us could do with right now.

Bell is as low-key brilliant as he always is – that ominous, gravelly voice gets a great workout, while his withered, grey-haired appearance lends the film real gravitas. And yes, there is enough Saw iconography here to keep the bloodthirsty on-side.

Directed without restraint by Ridley Scott, it’s a bewildering blend of high fashion, high camp and high tragedy that’s chaotic but also wildly entertaining.

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.

With so many of the gang now in the ground, this swansong doesn’t boast the same punk energy of the show’s early seasons. Only occasionally does it snarl and show its teeth, with flashes of the cold-blooded violence that gave it so much of an edge.

A tender, thoughtful film that finally brings the legendary singer-songwriter’s story, or at least a snatch of it, to the big screen.

The discomfort that’s baked into the premise of The Drama is amplified by disconcerting camera moves, cuts and audio choices, as well as Daniel Pemberton’s unsettling score. But despite all that, Borgli successfully plays things primarily for laughs.

Well made, but instantly forgettable.

While it’s not quite the same as actually being there, Bono: Stories Of Surrender shines a new, personal light on his dramatic performance.

There are some entertaining showdowns and Weaving again excels as the funny and fearsome Grace, one of modern horror’s toughest protagonists.

It’s a lively, enthralling tale with some particularly emotive scenes in the final act that are bound to cause a tear or two. Some will ask why make this film at all? The answer should be, why not?

Wicked: For Good doesn’t defy gravity like its predecessor but fans will want to hold space for a sequel with a very poignant payoff.

While The End Continues obviously won’t be talked about in such hallowed terms in four decades’ time, it thankfully doesn’t sully its own reputation, and it sure is pleasant to be back in the company of the band again.

There’s a bit of perfunctory plot to get past – Rake has repressed guilt involving his ill son and ex-wife that needs resolving – but character development is not this film’s strong point. In fact, it’s often baffling.

Best of all, like Ragnarok before it, it’s tremendously entertaining. Welcome to the jungle, indeed.

Under Paris, then is a cheesy yet canny creature feature romp with gritty Gallic bite, taking itself – enjoyably – rather more seriously than it deserves.

Sting is derivative but fitfully gripping. Crucially, it’s also good fun: with a main protagonist named Charlotte (lolz), there’s definitely a knowingness to proceedings.

You won’t leave a-ha: The Movie wanting to hang out in the band’s dressing room, but you will come away with a renewed appreciation for the intense and sensitive men who made melancholy pop gems like ‘The Sun Always Shines On TV’ and ‘Hunting High And Low’. Glorious as it is, there’s a lot more to this band than ‘Take On Me’.

Nightbitch makes plenty of very valid points about traditional gender roles and the oppressive nature of new parenthood. But it never fully sinks its teeth into a meaty premise; it’s briefly ferocious where it could have been completely feral.

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.

When Momoa isn’t on screen and stuff isn’t exploding, the daft dialogue almost sinks the film into parody. Sure, no one’s ever watched a Fast film for the talking, but so much time spent between set-pieces means we only really get half of a film a here – the big final cliffhanger stopping just as it’s getting going.

It’s not a film for everyone, especially if you’re craving fast-moving action. But for Poe fans, it’s a grisly treat.

Powell is a very watchable everyman, convincingly demonstrating the man of the people integrity of his character. There’s great work too from Colman Domingo as the show’s slick presenter Bobby T and Michael Cera, who plays a loose-cannon contact that Richards makes during his quest for survival. Wright also handles the explosive action well, orchestrating elaborate, kinetic set pieces that throb with excitement.

Director and co-writer Justin Chon’s film is not saying anything new here, just presenting it slightly abstractly with brief flashbacks (and flash-forwards) alongside Joyo’s unusual tree and plant-based rituals.

If you meet Wuthering Heights on its own terms and give yourself over to Fennell’s bold vision, it’s hard not to get swept up in this gothic tale of toxic attachment.

Gyllenhaal clearly loves losing his mind as the nice-guy/bad-guy with a mad streak, and Abdul-Mateen grounds it all in some kind of sticky morality, but it’s González that holds the film together from the backseat.

Whether Megalopolis is a critical or commercial success remains to be seen but it’s strange enough to surely have a long life as a cult film.

A funny, action-packed and, of course, fast-paced adventure follows – with a surprisingly moving emotional centre.

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.

Because of this humanity vacuum, the film’s emotional beats feel strained and awkward; often, Levy relies too heavily on Rob Simonsen’s mawkish score to tell us to feel something. The result: an inoffensive but forgettable sci-fi trifle that probably isn’t worth anyone’s precious time.

While the Bride’s relationship with Frank isn’t exactly a tear-jerker, Gyllenhaal has made something unique and singular. An outlier in the Frankenstein canon, it’s both a thought-provoking re-assessment of Shelley’s work and a bonkers feminist call-to-arms. They don’t come much wilder and weirder.

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.

Another Simple Favour has built up enough goodwill to keep you invested, thanks largely to game performances from Lively and co-star Anna Kendrick.

There is some good stuff here: it looks beautiful, the score is flesh-crawlingly creepy and there are individual shots that will stay with you for weeks. . . Alas, these qualities are all but lost in a slush of nonsensical narrative, unintentional (or so it seems) laughs and characters who are introduced only to drift away like flotsam.

Fortunately, Beast is silly enough – and brief enough at 93 minutes – to be a fun watch. Its schlocky B-movie plot moves quickly, largely because there’s hardly an inch of depth to it.

For at least half of its runtime, Last Rites is as handsome, solidly made and jumpy as the original. It’s never actually scary but Chaves . . . has been generous with the popcorn-flinging set pieces that make these movies perfect date-night fodder.

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.

Badland Hunters is simply in it for the mayhem, marvellous though it may be, but ultimately mindless.

The cast is given a boost by the star power of Vanessa Hudgens, Alexander Ludwig and Paolo Núñez all reprising their roles as members of AMMO (Advanced Miami Metro Operations), plus Better Call Saul’s Rhea Seehorn joining as the ballsy US Marshall daughter of the accused Captain Howard. It’s just a shame they’re all woefully underused in a story that feels so same-old-same-old.

Ironically for a film about AI-powered killer dolls, M3GAN 2.0 has lot of heart.

It’s hampered by an execution that’s flat, fussy and self-conscious. Only the most hopeless romantic will be able to invest in these characters for very long.

There’s already talk of a sequel, Cocaine Shark, and the cast have joked about getting jobs in the Cocaine Bear Cinematic Universe. So maybe it doesn’t really matter if Cocaine Bear is average, as long as it has both cocaine and bears in it. And we can most definitely confirm that it does.

Director Michael Pearce, who previously made 2021’s decent crime thriller Encounter starring Riz Ahmed, keeps the pace brisk but never really punches up the source material.

What makes this fifth film the best of the franchise is its tense, paranoid latter half.

This isn’t anyone’s personal story – it’s just the most filmable bits of a fake past, awkwardly, beautifully, pointlessly patched together at 24-frames per second.

Murphy’s youthful cheekiness has long gone, stripping this sequel of some of its verve. But this is still an enjoyable, affable reunion: the heat is just about back on.

Midas Man is so busy hitting the familiar beats of the Fab Four’s incredible rise that it never really burrows beneath Epstein’s skin.

The Moment is too protracted and tonally uneven to work as a great mockumentary, but it has plenty of meme-worthy moments that TikTok will lap up. If that sounds like faint praise, well, just remember it was enough to make Emerald Fennell’s Saltburn a sensation back in 2023.

Full of sex without ever being sexy, and twisted into the shape of a thriller without having any actual intrigue or suspense, it still stands up as the kind of adult relationship drama that’s gone out of fashion – just as trashy as it is complex.

If this is the end of Luther, The Fallen Sun serves as the perfect send-off. It’s surprisingly grounded considering the leap from TV (a Dover ferry is about as exotic as it gets) but constantly ambitious enough to warrant the two-hour runtime.

This is a typically unsophisticated, heart-in-the-right-place comedy from Sandler, complete with Happy’s four sons mooning and making dick jokes.

Flashy enough for pantomime but lacking the sense of fun, the rest of the film follows Branagh’s journey into dull excess, with Christie’s cracking whodunnit deafened by the camerawork and deadened by lazy writing.

Anchored by phenomenal performances from Kim and Kang, JUNG_E’s potent dramatic beats inject much humanity into a well-worn and predictable premise.

I Wanna Dance with Somebody isn’t as illuminating as it could be, but it still feels like a fitting tribute to a brave and complicated artist with a genuinely incredible gift.

It’s a shame the movie has such a goofy name, which throws a shroud over a powerful and unique cinematic experience.

As vampire movies go, this one doesn’t slay, but it has enough thrills, spills and playful charm not to feel like a grave mistake.

Lopez and Wilson are so right in their roles that the film’s ropier moments are easily forgotten. It’s a quintessential J.Lo movie that makes you wonder why she doesn’t make them more often.

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

The electricity effects are way too cheap, but otherwise Studio 666 would sweep up the Palm D’Gore at any horror flick festival with an ounce of rock ’n’ roll in its fiend-infested soul.

Wolf Man isn’t quite as creepy or emotionally charged as its predecessor. Some of the dad trauma stuff is laid on a bit thick and the whole enterprise runs out of puff in its final third, partly because the titular creature doesn’t actually look very scary (at times, you sense a strong coffee and a fry-up would sort him out).

But while DaCosta’s Candyman reboot was thrilling, this never musters the same level of engagement, despite a script that is chock full of good lines and a cast of willing participants. More meh than marvel, you might say.

They Will Kill You is a deeply unserious comedy horror that provides just enough plot to get it to the next bloodbath. It might not work for some but there’s something in the enthusiasm of all involved that is hard to resist as they craft a gleefully chaotic spectacle.

A Good Person unfortunately won’t stand as Braff’s finest achievement, and while Pugh and Freeman each give strong turns with what they’re given, even they can’t save this patchy effort from misfiring.

Action and acting, then, all good. Unfortunately – and bizarrely, given screenwriter David Koepp co-wrote the original Jurassic Park among other great blockbusters – the dialogue throughout Jurassic World Rebirth is very patchy, as if his first draft script made it to the screen.

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.

Viewed as a fever-dream psychological horror about somebody unravelling, and how fame is the mask that eats the face, it’s dizzyingly audacious filmmaking.

Fortunately, the Russo Brothers have managed a rarity in the streaming wars by making a movie that’ll please the Netflix algorithms and human beings alike. Bring on the next one.

The film runs out of rail a long time before it stops moving. On the other hand, it’s almost impossible not to enjoy every moment that Pitt is on screen. Stealing the film with whatever he’s given (a water bottle, a bucket hat, an automatic toilet…), he’s clearly having a great time. It’s lucky for us that at least some of it rubs off.

It’s not a naive film, but rather a hopeful one. Despite a world where darkness lurks, there’s light at the end of this tunnel.

All set around the American Civil War, Chapter 1 is a three-hour slow-burn that takes some patience, but rewards with handsome vistas, moments of thrilling action and characters that will likely grow in significance in subsequent instalments.

At only 88 minutes, Tournament Of Champions is a super-quick shot of adrenaline – too short to grow boring, yet meaty enough to feel like value for money.

Director Joachim Rønning (the surprisingly decent fifth Pirates Of The Caribbean) is a safe pair of hands. He doesn’t deliver any massive surprises but confidently marshals an entertaining instalment that sits comfortably alongside its predecessors.

Much like a bad date, Cat Person feels like a missed opportunity.

To say any more would spoil the film, but rest assured this is top-drawer MCU.

A really quite good film has been overshadowed needlessly. And that’s a real shame.

That title wrongly suggests the work of an artistic visionary scaling new heights of elevated horror; instead, this is a fun, dumb thrill ride that breathes powerfully fetid air into the ongoing string of mummy movies.

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.

It might not be much of an Owen Wilson movie, or even that much of a superhero flick, but if you ignore the poster and trailer and the casting and premise, there’s a fun little Sunday afternoon family film here just begging for a sequel.

If you’re already a fan of the game – and want to see Jovovich at her baddie-squashing best, then you’re in for a treat. And a little brainless escapism never hurt the rest of us either.