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.

Hamaguchi’s literary and densely layered drama moves slowly through its runtime, but stick with it and Drive My Car rewards patience like almost nothing else.

None of the characters have meaningful motives – and they’re so thinly drawn that they’re almost transparent.

Apatow has assembled a fantastic cast of A-listers and friends for his take on the pandemic. Unfortunately, it’s not very funny.

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.

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?

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.

You can largely predict what will happen, but that’s okay. To All The Boys: Always and Forever is sweet, sleek and has plenty of charm. Sometimes, that’s all you need.

Garfield’s performance is a compassionate one, careful not to hide Larson’s vainer side but also presenting him sympathetically.

As a meditation on depression, anxiety and touring, Anonymous Club isn’t just valuable viewing for Barnett’s die-hard fans, though they will no doubt cherish this film which captures the artist at her most open, outside of her music. For the first time, we’re invited into the club.

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.

It’s definitely the sexiest film of 2022 so far, but also the one with the most heart.

Peel away the astonishing cinematography and megawatt live performances, and it’s a frank account of the artist’s rapid ascension, as she navigates the scrutiny that comes with being a young woman in the public eye.

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.

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.

Lopez and Wilson are so right in their roles that the film’s ropier moments are easily forgotten. It’s a quintessential J.Lo movie that makes you wonder why she doesn’t make them more often.

Sure, there’ s no real reason for this story to keep unfolding. This is all about enjoying the imagery of human beings getting chopped up. And in that regard at least, Texas Chainsaw Massacre does not disappoint.

The electricity effects are way too cheap, but otherwise Studio 666 would sweep up the Palm D’Gore at any horror flick festival with an ounce of rock ’n’ roll in its fiend-infested soul.

Director Matt Reeves has mixed up gritty mob drama with film-noir detective thriller – and thanks to Dano’s ultra-creepy villain, some psychological horror too. Most of the time it comes off brilliantly.

Flashy enough for pantomime but lacking the sense of fun, the rest of the film follows Branagh’s journey into dull excess, with Christie’s cracking whodunnit deafened by the camerawork and deadened by lazy writing.

The king of kitschy, campy cinema, understated is not always a word you’d readily associate with Pedro Almodóvar, but in his compassionate hands, motherhood becomes a vehicle for something much more weighty.

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.

There’s a kindness and companionship – and freedom – to Jackass Forever that makes for 90 minutes of pure joy.

The film takes a minute to let the viewer in, to get on Julie’s level, but it’s often rewarding once her heart really does open up.

Just as ugly and beautiful as any classic noir, del Toro’s dark, dazzling three-ring Hollywood circus proves the old-fashioned event film still has a lot of life left.

Gradually, Fine’s sensitive, softly-softly approach works small wonders.

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.