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.

Fizzing along nicely, even as it tips the two-hour mark, Enola Holmes 2 fits the mould it broke two years ago with a twisty murder mystery that’s well worth solving.

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

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.

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

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.

Sure, there’ s no real reason for this story to keep unfolding. This is all about enjoying the imagery of human beings getting chopped up. And in that regard at least, Texas Chainsaw Massacre does not disappoint.

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.

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.

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.

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

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.

Because it takes too long to become truly gripping, it ends up overstaying its welcome during the last few big reveals. Still, there’s no denying it contains enough intrigue to launch the franchise that Vaughn is already planning.

Fortunately, Hawke is fantastic. Over-acting like his life depends on it, his mad kabuki mugging somehow works perfectly.

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.

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.

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

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.

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.

After watching Jung-do’s renewed sense of purpose come through, watching the story go down the path of a typical action-thriller is a letdown. However, if you’re only going into Officer Black Belt to watch Kim Woo-bin deliver some killer moves, however, you won’t be disappointed.

The Exorcism is absorbing, smart and packed with ruthlessly effective jump-scares.

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.

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

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.

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.

The terrible dialogue, lazily written character dynamics, and sloppy storytelling make Re/Member a movie we’d rather forget.

Hopkins steals the film with a wonderfully unlikeable cameo, but it’s the triple-header of Jackman, Dern and Kirby that really lifts the film far above its own script.

Unfortunately, Tarot is exactly as derivative as its uninspired synopsis suggests.

Some genuinely exciting action sequences save Jurassic World Dominion from being a complete turkey – a thrilling raptor versus motorbike chase is one of the highlights. Otherwise, the trilogy exits with a whimper rather than a roar.

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

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.

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.

As The Super Mario Bros. Movie progresses, it’s hobbled by a perfunctory plot and some lazy creative choices.

Despite stellar efforts from Farrell and Robbie, it all adds up to something not quite charming, not quite moving and not quite compelling. This film is less a big bold beautiful journey; more a mildly diverting pitstop.

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.

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.

There is the occasional nice detail – like the Jim Belcher figurines that go on sale when he becomes a household name. But Hookings’ screenplay lacks depth, the characters all largely one-note.

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.

With heavy-handed plot lines about misinformation, trauma and the struggle of evolution, Bird Box Barcelona often feels like the writers have picked subjects from recent headlines and tried to craft them into a moralising horror film.

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.

Apatow has assembled a fantastic cast of A-listers and friends for his take on the pandemic. Unfortunately, it’s not very funny.

A few fights enliven proceedings, including one on a road lined with cherry blossom trees. But this is largely dull and disappointing.

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.

Purple Hearts is crushingly predictable and never quite rings true, but it’s not completely hopeless.

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.

But even the fun moments are overshadowed by the writers’ constant need to over-explain each plot point.

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.

At least Scream star Matthew Lillard brings some creepiness into his little screen time. Otherwise, Five Nights At Freddy’s is moribund.

Fury Of The Gods gets a big, silly ending which is occasionally fun, but there’s a cheap and clumsy feel to everything – a superhero sequel made in the same vague shape as a dozen others.

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

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.

You won’t be able to shake the feeling that there’s a lack of heart and soul here.

Marching Powder isn’t just about anti-woke banter: it also has plenty of affection for its characters, even if it doesn’t fully flesh them out. It’s punchy but never lands a killer emotional blow.

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.

But as the film lurches into the final third, there’s little emotional sustenance to keep you going. Just one yawn-worthy twist and some dud CGI. Avoid.

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 main problem is that none of these characters are ever fleshed out enough to make you invest in them.

Driven by big-truck energy and lumbered with tired sports clichés and flat jokes, Home Team feels like its target audience is bad dads who don’t like spending time with their sons.

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.

Despite the odd flash of gore (this is a ‘15’ certificate, so expect minimal scares), the film’s biggest crime is that it’s utterly boring.

Honestly, this film is so terrible it makes the 50 Shades of Grey trilogy look like high art. The review’s lone star is for the location manager who criss-crossed Europe to find all the blandly luxurious pads that this soulless nonsense unfolds in.

True, it’s a clever loophole the director has exploited, but that’s as far as it goes. Blood And Honey is a sticky mess of a movie.

None of the characters have meaningful motives – and they’re so thinly drawn that they’re almost transparent.

This awkward by-the-numbers slasher wouldn’t have stood up to scrutiny three decades ago and falls desperately short in an era where elevated horror has become the norm.