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.