When Momoa isn’t on screen and stuff isn’t exploding, the daft dialogue almost sinks the film into parody. Sure, no one’s ever watched a Fast film for the talking, but so much time spent between set-pieces means we only really get half of a film a here – the big final cliffhanger stopping just as it’s getting going.

It’s not a film for everyone, especially if you’re craving fast-moving action. But for Poe fans, it’s a grisly treat.

Powell is a very watchable everyman, convincingly demonstrating the man of the people integrity of his character. There’s great work too from Colman Domingo as the show’s slick presenter Bobby T and Michael Cera, who plays a loose-cannon contact that Richards makes during his quest for survival. Wright also handles the explosive action well, orchestrating elaborate, kinetic set pieces that throb with excitement.

Director and co-writer Justin Chon’s film is not saying anything new here, just presenting it slightly abstractly with brief flashbacks (and flash-forwards) alongside Joyo’s unusual tree and plant-based rituals.

If you meet Wuthering Heights on its own terms and give yourself over to Fennell’s bold vision, it’s hard not to get swept up in this gothic tale of toxic attachment.

Gyllenhaal clearly loves losing his mind as the nice-guy/bad-guy with a mad streak, and Abdul-Mateen grounds it all in some kind of sticky morality, but it’s González that holds the film together from the backseat.

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.

A funny, action-packed and, of course, fast-paced adventure follows – with a surprisingly moving emotional centre.

Showalter’s film gives Bakker a sentimental but effective final act, but never fully explains why this flawed but enormously warm human being became an unlikely icon.

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.

While the Bride’s relationship with Frank isn’t exactly a tear-jerker, Gyllenhaal has made something unique and singular. An outlier in the Frankenstein canon, it’s both a thought-provoking re-assessment of Shelley’s work and a bonkers feminist call-to-arms. They don’t come much wilder and weirder.

Don’t Make Me Go is a strange beast: a film that feels a little predictable until it snaps and stretches credulity to the limit. Thankfully, Cho and Isaac’s affecting performances are a lot more nuanced than the writing.

Another Simple Favour has built up enough goodwill to keep you invested, thanks largely to game performances from Lively and co-star Anna Kendrick.

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.

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.

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.

Bristling with good ideas and two great performances, a rushed ending that dips into daftness ends up killing off what could have been a great pitch for an offbeat little TV show that we’re now never going to get to watch.

Badland Hunters is simply in it for the mayhem, marvellous though it may be, but ultimately mindless.

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.

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

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.

There’s already talk of a sequel, Cocaine Shark, and the cast have joked about getting jobs in the Cocaine Bear Cinematic Universe. So maybe it doesn’t really matter if Cocaine Bear is average, as long as it has both cocaine and bears in it. And we can most definitely confirm that it does.

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.

What makes this fifth film the best of the franchise is its tense, paranoid latter half.

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.

Murphy’s youthful cheekiness has long gone, stripping this sequel of some of its verve. But this is still an enjoyable, affable reunion: the heat is just about back on.

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 Moment is too protracted and tonally uneven to work as a great mockumentary, but it has plenty of meme-worthy moments that TikTok will lap up. If that sounds like faint praise, well, just remember it was enough to make Emerald Fennell’s Saltburn a sensation back in 2023.