Ritchie is looking back to the Lock, Stock and Two Smoking Barrels and RocknRolla roots as if nothing has changed since. The Gentlemen is simply those movies with extra everything except inspiration. And sometimes more is less.

Whatever you do this summer, watching this reboot shouldn’t be one of them.

While the performances are heart-warming, the characterization of Reddy feels reductive, overlooking the real-life contradictions, flinty humour, and eccentricities that might have made the performance less generic.

This is one of those animated features that veers way towards adult references for the parents in the room, while creating occasional mayhem in the pursuit of short-attention-span theatre. The latter fails.

For a movie that’s supposed to take D.C. in a new direction, Black Adam sure seems like something we’ve seen plenty of times before.

Ambitious in the sweep of history that it chronicles, it’s a sometimes entertaining, often sordid movie about movies in the earliest Hollywood era. At a running length of just over three hours, it both makes its point, and overstays its welcome.

As it is, The Art of Racing in the Rain won’t disappoint anyone with basic expectations of a dog movie. It’s full of aww, if not wonder.

The film is full of lovely images, macro close-ups and time-lapse photography mixed in with some inspirational politics...But by the end, this gentle meandering film about a man who loves forests feels at least half-nonsensical.

It's harmless fun, enough to achieve a place among music movie curios like Ringo Starr/Harry Nillson's unwatchable Son of Dracula (1973) and the equally cringe-worthy Kiss Meets the Phantom of the Park (1978). For what it’s worth, Studio 666 is leagues better than both of those efforts.

Say what you will about this movie, at some point you will say, “Awww.”

Bang operates in its own category: so bad, it’s almost watchable. And in the crowded deluge of disposable entertainment, that’s almost a compliment.

Madame Web is a strange and quickly forgettable entry in the superhero genre. It falls apart entirely in the third reel with an unimpressive final battle and an odd, but not wholly uninteresting, Buñuel-like expose.

Moon Manor is in a middle ground, a fiction that claims to be “true-ish”.

To give Noé’s credit, he used the Saint Laurent fashion money to practice the split-screen technique which is employed far more movingly in Vortex. He also made the only fashion ad I won’t instantly forget.

There’s one illuminating segment in Alexis Bloom’s documentary, Divide and Conquer: The Story of Roger Ailes, which might have made a fascinating stand-alone short doc.

The best way to appreciate The Affair is to sidestep its pot-boiler pretentious and think of as an exceptionally elegant episode of House Hunters International.

Reminiscence doesn’t leave us much to remember it by, apart from those mournful CGI vistas of water-logged Miami.

You Gotta Believe is billed as family entertainment. Whose family, exactly, they never specify.

Apart from the overall endorsement of women’s friendships — and the credible warmth between the two likeable stars — the script’s feminist message is hopelessly muddled.

For sure, the film is heartwarming, and it is fun to watch Dindim waddle around and engage with the human world, adopting Joao as a family member. But that’s not quite enough to overcome the film’s problems.

A movie with a sincere social message and an exploitation movie sensibility, Antebellum is a clumsy cousin of Jordan Peele’s Get Out, an allegory of racism in a horror film about entrapment that goes wide of the mark.

Where the Crawdads Sing is recommended, and part of me liked it. But I confess to feeling a bit bored and, surprising even to myself, a bit disappointed that the filmmakers, in the quest to honour Owens’ book, created something without a single surprise in casting, setting or anything else.

The documentary, Goodnight Oppy, is the sort of film you expect to see at your local museum or science center for school-age children. It’s a real-life Wall-E story, that’s easy to follow, full of emotion and Hollywood budget, and intended to elicit wonder and admiration for the National Aeronautics and Space Association.

By the time the narrative decides where it’s going, the audience has already decided not to care.

While the film prompts a mildly interesting inquiry, in the end, it’s simply nostalgia that is the draw.

This newest concoction gets a lift from its cast but falls to Earth thanks to a leaden script. It’s more exploding chocolate than everlasting gobstopper and, I’m sorry to say, more bitter than sweet.

Beyond the premise though, Held is pretty much stale ginger ale, not fresh, no fizz, thinly acted and tepidly paced. While it’s passably interesting, watching co-directors Travis Cluff and Chris Lofing (The Gallows) explore the antiseptic house as if watching a a real estate video, the accompanying thin drama drifts into episodic genre violence and doubtful logic.

It would be swell if there was a way of describing Bloodshot that unscrambled its plot while making it sound staggeringly cool but… well, we can’t all be superheroes. Neat effects though, which maybe are the most important thing in a sci-fi actioner?