Wingard does try out something different here, creating long dialogue-free sequences where it’s just the monsters going toe-to-toe. With Wingard relying on gestures, grunts and groans from his alpha-beasts, it’s like watching the most expensive silent movie ever made.

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.

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

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

Like Afterlife, Frozen Empire ultimately succeeds because it’s so much fun to watch.

Phillips and Silver have delivered the last thing anyone expected: a socially responsible Joker movie that finds an intriguing way to explore the consequences (both on and offscreen) of the first film. Joker fans shouldn’t cry too hard though – Warner Bros. have cleverly found a way to leave the door open a little for the franchise to continue, should the need arise.

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.

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

Less a balanced exposé than a tabloid scoop played for shocks, the film never even bothers to ask why any of this might have happened.

There’s more to Wilson’s film than dread though. In between the terror, the newbie director makes time for actual plot.

Thankfully, if you can suspend your disbelief, Heart Of Stone is plenty of fun and far slicker than a lot of recent Netflix content. It almost goes without saying that the ending leaves room for a potential franchise. And after two hours of near-constant japes and scrapes, you’d need a heart of stone – or at least a high entertainment threshold – not to think “Oh go on then, why the hell not?”

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.

This film was always going to face accusations of being exploitative – given the way Winehouse was scrutinised when she was alive – but the naysayers needn’t have worried. Taylor-Johnson’s film (particularly the ending) is impressively deft and delicate.

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.

A notch above its predecessors.

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

Opus is as off-kilter as they come. Perfectly suited, then, to a man like Malkovich.

Awkwafina’s deadpan drollery dovetails neatly with Cena’s golden retriever energy and the climactic set-piece is genuinely exciting.

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

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.

The bad news is that Moonfall isn’t a great movie. The good news is that it’s hugely enjoyable for most of its running time.

Wheatley proves himself an instant master of CGI monster movie mayhem here, but by piling it on so relentlessly thick he all but admits defeat in his initial attempts to give the franchise any believable depths.

This might not be what fans expect from an Exorcist movie, but they’ll be even more surprised that it’s actually watchable.

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.

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.

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

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.

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

When Campbell, Cox or both are on screen, Scream 7 is at its best. Campbell now is as indefatigable a scream queen as Jamie Lee Curtis in the Halloween series, while Weathers is probably Cox’s greatest role, even if the Friends faithful prefer Monica Geller. So, even an average Scream film is worth seeing for the dark thrills and bloody spills we can depend on. Just don’t expect to be wowed.

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.

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

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

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

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

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.

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.

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.

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.

It’s poignant in informing and representing the value of sexual expression and acceptance, wholeheartedly portraying that BDSM relationships are more often than not as grounded and human as the people involved.

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.

Good Mourning is content with providing sheer, silly entertainment, filling the comedy void left by the likes of Seth Rogan and Jonah Hill perfectly.

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.

You won’t come away feeling as though Shania Twain has bared her soul, but you will have renewed respect for the talent, vision and hard work that made her an era-defining artist.

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.

The telling of Baby’s early life is illuminating. It offers his lived experience as well as an insight into the historical background of oppression and inequality in the US to show how the rapper – a childhood “genius” who would ace exams even though he never showed up to class – would eventually be incarcerated by the age of 20.

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

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.

DeVidas’ film might be a difficult watch but, as well as serving up a reminder of the horrors of addiction, at least it gives us plenty to be grateful for too.

Simplicity can be elegant, one must be careful not veer into simplistic, which can be monotonous. Ballerina teeters on the edge both.

Ultimately, Kids Are Growing Up serves as a meditation on happiness.

Both Song Joong-ki and Choi Sung-eun are phenomenal throughout Kim Hee-jin’s feature film debut, transforming My Name is Loh Kiwan into a film that will stay with you for a long time.

If you’re a casual fan, Rite Here Rite Now makes for a fun, enjoyable experience that should tide you over until their next album or tour. But if you’re a die-hard, this is essential viewing – not just for its exhilarating live moments, but for the next part of the gripping Ghost saga.

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.

BLACKPINK World Tour [Born Pink] In Cinemas is a fun reminder of the sparkle and strength displayed in BLACKPINK’s concert and a timely celebration of one of K-pop’s biggest girl groups, bright enough to tide us over until the four-piece are back on stage in front of us again.

To some degree, blur: Live at Wembley Stadium is more like watching a bunch of teens successfully pulling off their first gig than 50-somethings at an all-time career high. It’s this mischievousness that makes them so endearing to watch.

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.

Much of One Hand Clapping feels like the knowing performance video it was always intended to be, but it’s these behind-the-curtain glimpses that stop you blinking throughout for fear of what you might miss.

Despite the peaks, Uprising would have benefited from a shorter runtime and a more focused lens – and perhaps less severed noses.

Right People, Wrong Place might be a document of an album, allowing RM to show the contrast between this experience and the more polished, slick workings of BTS. But it also feels like a subtle chronicle of friendship forged through music.

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.

It’s a tribute to the joy, hope and love that pop culture and a shared devotion to it can bring. It’s proof that stanning a boyband can be a life-changing force for good, rather than the frivolous waste of time some would make it out to be.

The undisputed highlight of the film are Faithfull’s various musical performances from across her career.

A lively, in-depth examination of the fascinating and important heavy metal icons, this Ballad is well worth listening to.

Through it all, the overwhelming sense BTS: The Return gives is one of a group at a crossroads, figuring out which way to turn.