Sonic 2 is certainly a fan-pleaser and comes pre-loaded with a post-credits scene that hints at more action (and more game throwbacks) to come. Who remembers that dodgy first design now?

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.