Turning an awful true story about a serial killer into an awful true story about the system that let it happen, The Good Nurse is an important lesson for anyone who tries to package Cullen’s crimes too neatly. Better still though, it gives us one of Chastain’s best performances; one of the year’s most believable superheroes.

Bros is a cut above most romcoms for one simple reason: it’s funnier.

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.

Fizzing along nicely, even as it tips the two-hour mark, Enola Holmes 2 fits the mould it broke two years ago with a twisty murder mystery that’s well worth solving.

But even the fun moments are overshadowed by the writers’ constant need to over-explain each plot point.

Genuinely moving from the very beginning, expect to leave After Yang in a flood of tears. Expect, also, to spend the rest of the night questioning all the things that no one really likes thinking about. And, of course, to want to keep rewatching that dance scene on repeat.

Viewed as a fever-dream psychological horror about somebody unravelling, and how fame is the mask that eats the face, it’s dizzyingly audacious filmmaking.

The Girl with a Bracelet is a clever, relevant film which makes you question the way society expects young women to behave.

Though Lou is derivative and schematically plotted, it’s gripping enough to get away with it, thanks largely to Janney’s committed performance.

A really quite good film has been overshadowed needlessly. And that’s a real shame.

Yes, we get footage of the alien glam god, Ziggy Stardust, strutting across stage and scrambling teen minds with his otherworldly rock and roll. But off-duty, Morgen portrays a quieter icon – deeply thoughtful, often isolated and with a quirky sense of humour.

Made with bubblegum bite by Jennifer Kaytin Robinson (writer on MTV’s Sweet/Vicious and Marvel’s Thor: Love And Thunder), the film takes its place in the cult yearbook with an ironic wink – dropping movie references as fast as it does one-liners.

There are as many ‘Hallelujah’ stories as people who’ve listened to it, of course, but in pinpointing a precious few, Hallelujah… does a fine job of unravelling just some of the song’s multitudes.

If you’re looking for a good-old fashioned romp, stylishly made and frequently hilarious, this ticks all the boxes.

Cronenberg playing through the hits is better than most directors’ best work. He’s a filmmaker who has always had apocalyptic visions of humanity: they’re all here and they do hit in a sharp way.

The telling of Baby’s early life is illuminating. It offers his lived experience as well as an insight into the historical background of oppression and inequality in the US to show how the rapper – a childhood “genius” who would ace exams even though he never showed up to class – would eventually be incarcerated by the age of 20.

Fortunately, Beast is silly enough – and brief enough at 93 minutes – to be a fun watch. Its schlocky B-movie plot moves quickly, largely because there’s hardly an inch of depth to it.

Endlessly silly, and hampered by a lousy script, Fall somehow still manages to be almost unbearably tense – the equivalent of spending two hours watching those stomach-churning YouTube videos of mad freerunners hanging off tall buildings for fun.

Honestly, this film is so terrible it makes the 50 Shades of Grey trilogy look like high art. The review’s lone star is for the location manager who criss-crossed Europe to find all the blandly luxurious pads that this soulless nonsense unfolds in.

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.

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.

At times, [Peele] seems to imply that comedy and horror are both ways of processing the perverse mysteries of the world—and looking at things we shouldn’t be looking at. This also makes Nope a film that rewards repeat watching.

The film runs out of rail a long time before it stops moving. On the other hand, it’s almost impossible not to enjoy every moment that Pitt is on screen. Stealing the film with whatever he’s given (a water bottle, a bucket hat, an automatic toilet…), he’s clearly having a great time. It’s lucky for us that at least some of it rubs off.

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

Purple Hearts is crushingly predictable and never quite rings true, but it’s not completely hopeless.

Despite its flaws, George Michael Freedom Uncut ultimately succeeds because the man himself remains so compelling.

You won’t come away feeling as though Shania Twain has bared her soul, but you will have renewed respect for the talent, vision and hard work that made her an era-defining artist.

There is the occasional nice detail – like the Jim Belcher figurines that go on sale when he becomes a household name. But Hookings’ screenplay lacks depth, the characters all largely one-note.