Craig delivers one of his best performances to date as Lee, investing him with a palpable world-weariness and making you feel every moment of hope, desire, ecstasy and crushing disappointment. Starkey is excellent too, generating strong chemistry with Craig.

Kravitz, making her directorial debut, knows exactly how to drip-feed information, until it dawns on you that it’s all about to get very bad indeed.

Crafting a thriller that is tense and taut, Álvarez truly understands what makes an Alien movie breathe, while also expanding on the mythology of the series.

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

Unfortunately, its intriguing conceit is also hampered by comatose chemistry, a claustrophobic setting and a slew of dead one-liners.

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.

Just like their insane live shows and debut album ‘Fine Art’, it’s one hell of a laugh. However it’s also full of heart; telling a real working class story as a call for unity without punching down or patronising.

Schoenbrun’s film never feels derivative; instead, there’s something fresh and exciting about it, despite the almost deliberate slow-burn feel to its pacing.

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.

The first two Deadpool films were funny and violent and original, but this one shows Marvel’s most gloriously inappropriate superhero at his very best and worst.

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.

Packed with heart, smarts, jaw-dropping effects and an exquisite ensemble cast (shout out to Harry Hadden-Paton’s nerdy British journalist as comic relief), Twisters will have you singing the praises of the multiplex until the cows come home.

Perkins ensures everything services a story that comes armed with at least one almighty twist. Measured in pacing and tone, his film also feels extremely moody thanks to the overcast skies captured by cinematographer Andrés Arochi.

The core Eno that emerges is one dedicated to the deconstruction of music and its making at a fundamental level, then recreating it in amorphous terms: feeling, landscape, peripheral perception, belonging.

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.

Three films into Ti West’s extraordinary trilogy, Goth proves yet again what a force she is to be reckoned with – and West proves that funny, dark, smart schlock horror still has a lot to say.

All set around the American Civil War, Chapter 1 is a three-hour slow-burn that takes some patience, but rewards with handsome vistas, moments of thrilling action and characters that will likely grow in significance in subsequent instalments.

There’s something undeniably impressive about the whole enterprise, in which Lanthimos has found the perfect co-conspirators: Plemons’ ambiguous quality suits his opaque stories, while Stone’s charisma warms the edges of his chilly filmmaking. The result is a singular, freaky challenge that’s definitely worth accepting.

Sarnoski has crafted a tonally cohesive but low-key drama that happens to be interspersed with moments of white-knuckle terror. Appropriately enough, A Quiet Place: Day One is more of an urgent whisper than a shout.

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 Exorcism is absorbing, smart and packed with ruthlessly effective jump-scares.

Whether they return again or not remains to be seen. But even if they don’t, this was one hell of a final fling.

While there are glimmers of drama, there are also extended sections where this deliberately bewildering film gets a bit boring. Despite this, Sasquatch Sunset is worth seeking out if you have a taste for the absurd.

Under Paris, then is a cheesy yet canny creature feature romp with gritty Gallic bite, taking itself – enjoyably – rather more seriously than it deserves.

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.

The Beach Boys makes up for its narrative familiarity by exploring some of the lesser-known behind-the-scenes tidbits.

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.

Linklater is a master of pacing and he times this story to perfection; you’ll be aching with laughter by the end.