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?

If you’re already a fan of the game – and want to see Jovovich at her baddie-squashing best, then you’re in for a treat. And a little brainless escapism never hurt the rest of us either.

EPiC: Elvis Presley In Concert is a kaleidoscopic mix of documentary and concert movie, replete with a behind-the-scenes peek at the rehearsal process, much of it narrated by Elvis himself. Forget talking heads: Luhrmann has described his tribute as a “tone poem”.

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.

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

The Naked Gun isn’t big or clever and that’s just fine – silliness has been missing from comedy cinema for far too long now. It might not smell quite as ripe as the original trilogy but it’s never not wonderful to hear Frank Drebin let ‘er rip on the big screen.

If this is a bookend to his incredible performing career, at least it’s a respectful and tender one.

But while DaCosta’s Candyman reboot was thrilling, this never musters the same level of engagement, despite a script that is chock full of good lines and a cast of willing participants. More meh than marvel, you might say.

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.

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.

As summer blockbusters go, it’s only ever really mildly diverting. But bringing us a first Latino superhero in a DC movie, ably played by the charming Maridueña, is still to be applauded.

I Wanna Dance with Somebody isn’t as illuminating as it could be, but it still feels like a fitting tribute to a brave and complicated artist with a genuinely incredible gift.

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?”

For a film about feats of next-level bravery, Thirteen Lives is a little too cautious to really soar.

Full of sex without ever being sexy, and twisted into the shape of a thriller without having any actual intrigue or suspense, it still stands up as the kind of adult relationship drama that’s gone out of fashion – just as trashy as it is complex.

For better or for worse, Raya And The Last Dragon is not your traditional Disney princess story. It ambitiously tries to subvert those tropes by going against the grain with a dark narrative about human mortality and selfishness. But the film forgets storytelling fundamentals, instead jumping the gun with a mishmash of influences that leads to an uneven plot and unsatisfying finale.

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.

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

It’s enjoyable enough. It’s also a real treat to watch a Marvel film that doesn’t depend on viewers having seen a dozen other films and TV shows.

Like A Star Is Born, Maestro peters out after an astonishing first act that frontloads all of Cooper’s directing tricks.

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

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

It’s sometimes funny and emotionally effective when it counts, but also very, very dark, with some of the grimmest scenes of any Marvel movie.

As vampire movies go, this one doesn’t slay, but it has enough thrills, spills and playful charm not to feel like a grave mistake.

It might not be much of an Owen Wilson movie, or even that much of a superhero flick, but if you ignore the poster and trailer and the casting and premise, there’s a fun little Sunday afternoon family film here just begging for a sequel.

This take on Nosferatu may be essential viewing for fans of gothic horror but must be recommended with caution for everyone else.

Somehow, Raimi – with strong, grounded turns from Cumberbatch and Olsen – just about keeps the film from running too far off the rails.

Top Gun: Maverick does exactly what its intended audience wants it to do – pile on the airborne thrills and steely military heroics without knotting things up with too much moralising or complex character development.