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.