Sweeney is excellent as the whistleblower who slowly but surely realises the game is up and creeps from poised confidence to frightened, tearful regret. Hamilton and Davis are also very believable as agents in complete control.

Creed III isn’t quite a knockout, but only a fool would come away questioning whether this seasoned slugger of a franchise has more rounds left in it. Bring on Creed IV.

If this is the end of Luther, The Fallen Sun serves as the perfect send-off. It’s surprisingly grounded considering the leap from TV (a Dover ferry is about as exotic as it gets) but constantly ambitious enough to warrant the two-hour runtime.

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.

The terrible dialogue, lazily written character dynamics, and sloppy storytelling make Re/Member a movie we’d rather forget.

Hopkins steals the film with a wonderfully unlikeable cameo, but it’s the triple-header of Jackman, Dern and Kirby that really lifts the film far above its own script.

By the apocalyptic and slightly predictable ending – come on, another quasi-spaceship assault? – Johansson’s swansong has cycled through futuristic sci-fi, buddy comedy, escape adventure and teary drama.

At only 88 minutes, Tournament Of Champions is a super-quick shot of adrenaline – too short to grow boring, yet meaty enough to feel like value for money.

Denis Villeneuve’s new reboot thankfully ditches the silly, but it does take itself extremely seriously.

For those who were there, the film provides a portal back to a golden age. For everyone else, it’s a reminder of those special teen years – when a plastic cup filled with warm lager and a sunny afternoon in a park makes for the biggest adventure of your life.

It’s a familiar story, to be honest. But even if Bond seems the same as ever, the world he exists in isn’t.

Apart from the usual stylistic clichés, this isn’t your typical Anderson movie. Structurally, it’s unconventional.

To say any more would spoil the film, but rest assured this is top-drawer MCU.

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.

There’s no big twist to speak of, but this is a white-knuckle thrill ride that’s up there with Shyamalan’s most gripping work.

The great storyteller has been careful in interviews to remind us The Fabelmans is only semi-autobiographical, but everything cuts so deep that you’re left wondering if Spielberg left any of the truth out at all.

Much like a bad date, Cat Person feels like a missed opportunity.

Almost completely built out of clichés and corn, there’s very little in Plane that hasn’t been seen before, but it very rarely matters. Exciting without ever really thrilling, it’s an immovably solid actioner – a fun Friday night pizza movie packing a handful of relentlessly unfussy action scenes that deliver exactly what they promise.

A riot of sex, murder and intoxication presented with an appropriate aural and sonic ferocity.

Robbie and Pitt still provide enough star-wattage to power most viewers to the end-credits. Babylon does babble on (sorry) past its natural conclusion, but what party ever ended when it was supposed to?

Anchored by phenomenal performances from Kim and Kang, JUNG_E’s potent dramatic beats inject much humanity into a well-worn and predictable premise.

This could easily have smacked of trying too hard, but Johnstone really seems to have pulled it off.

Lydia Tár isn’t a real person, but this riveting film about the corrupting effects of power and privilege will make you think she is. That’s partly because writer-director Todd Field has created a terrifyingly believable character and world that she presides over.

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.

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

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.

Unlike its predecessor though, you won’t forget this experience in a hurry.

Throughout, Guadagnino audaciously but successfully balances some gut-wrenchingly grim and gory scenes with moments of genuine tenderness.