DeVidas’ film might be a difficult watch but, as well as serving up a reminder of the horrors of addiction, at least it gives us plenty to be grateful for too.

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.

Hope, then, is the film’s lasting message. Hope that it’ll spark much-needed conversations. But also hope that they won’t be so needed in the future.

Saving the day this time isn’t Poirot, but the city itself which Branagh captures in all its decadently crumbling glory.

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.

Eschewing melodrama for a more low-key register, it may not satisfy those looking for quick thrills. But this slow-burner is a stylish look at a bygone era, when all that mattered was having enough money to put petrol in your tank.

The Killer is an entertaining, crowd-pleasing banger that stands up to multiple views. It’s a superior hit-man romp that doesn’t outstay its welcome from a director who misses the target less than his protagonist.

Uncut Gems is an anxiety-inducing heart-attack of a movie that grabs its audience by the throat and shakes until there’s no breath left.

At least Scream star Matthew Lillard brings some creepiness into his little screen time. Otherwise, Five Nights At Freddy’s is moribund.

It’s a staggering feat. In the space of one seamless performance, Swift is at turns a playfully eccentric artist, a country star and a genuine pop icon. Yet for all the spectacle, it might be those acoustic songs that linger longest in the memory.

This might not be what fans expect from an Exorcist movie, but they’ll be even more surprised that it’s actually watchable.

Combining spectacular effects work with a surprisingly provocative script, it’s a superbly made sci-fi adventure that delivers plenty of robo-thrills.

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

It’s not all wide-eyed insight and romantic misery though. Past Lives is also very, very funny.

Spaeny is superb as Priscilla, making you feel every painful aspect of her emotional journey, from infatuation and initial confusion through to heartbreak and finally self-discovery. Similarly, Elordi makes a terrific Elvis.

As ever with Anderson, the design is meticulous. Some can find this style cloying, but it suits this glorified short perfectly, never outstaying its welcome.

At its best, The Blackening is a fun, laugh-out-loud blockbuster that sends up the many genre clichés surrounding Black people in horror (mostly the notion that they always die first in horror films). At its worst, though, it’s a reductive slasher-comedy where most jokes earn a measly huff.

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.

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?”

Taken on its own merits, the live-action Zom 100 is a pretty fun time – a consistently amusing adventure that makes up for its slightness with an abundance of silliness.

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.

Hardcore horror fans should expect less of a full-on festival of bloody carnage and more a new-school chiller in line with the first two films by Ari Aster (Hereditary, Midsommar) or Jordan Peele (Get Out, Us). Regardless: for a top-ranking summer fright from Down Under, don’t miss Talk To Me.

Not just the definitive account of the man behind the atom bomb, Oppenheimer is a monumental achievement in grown-up filmmaking. For years, Nolan has been perfecting the art of the serious blockbuster – crafting smart, finely-tuned multiplex epics that demand attention; that can’t be watched anywhere other than in a cinema, uninterrupted, without distractions. But this, somehow, feels bigger.

Sprinkled throughout are marketing messages (“Barbie means you can be anything”) that sound like they come straight from a press release. Gerwig is clever enough to deliver these with self-awareness and some sarcastic jokes (Mirren thanking Barbie for ending misogyny is a highlight), meaning the balance between reality and commercial is never lost. For a movie that ostensibly exists to promote a doll, this is laudable.

With heavy-handed plot lines about misinformation, trauma and the struggle of evolution, Bird Box Barcelona often feels like the writers have picked subjects from recent headlines and tried to craft them into a moralising horror film.

There’s more to Wilson’s film than dread though. In between the terror, the newbie director makes time for actual plot.

Dead Reckoning’s spectacular finale does well to bring things back on brand – seriously, the closing action tableau is as impressive as any you’ll see – but by then most will have stopped caring because their heads hurt.

This feature-length documentary makes for affecting viewing because it tells the duo’s incredible success story through the lens of their rock-solid friendship.