Alcock does a decent job playing a Supergirl a million miles away from Helen Slater’s 1984 iteration or Melissa Benoist in the long-running TV show. All grunge aesthetic and attitude, she rises above the underwhelming script and direction.

This is wish fulfilment and escapism with a bit of off-putting-if-you-think-about-it sex, which fetishises jealousy and possessiveness as if they were synonymous with love. A charmless slog.

The film is overstuffed with characters. In some ways, this gives us an embarrassment of riches (there’s clearly no shortage of ideas in that sense), but very few get time to shine, whether it’s old favourites or newer creations (Ernie Hudson’s reinvigorated Combat Carl, for example, is great but underemployed).

It's a touching tale with strong characters, visual spectacle and plenty of imagination. Only an overcomplicated second half, with its unsatisfying finale, prevents the film becoming the modern stop-motion classic it occasionally threatens to be.

Disclosure Day is an imperfect film, then, but it is also one with no shortage of great moments and the undeniable stamp of the great Steven Spielberg. And if that doesn’t make a summer blockbuster worth checking out, then frankly what does?

A more ambitious and genuinely subversive film would have dug a little deeper into this muddy ground. As it is, Savage House is an amusing diversion powered by a pair of devilishly game performances.

Whilst sometimes hampered by its loose plotting, and uneven supporting performances, the characters largely feel real and lived-in. Offering a world where people read Byron, brood on their feelings and hang out in the cooler corners of Warsaw (which Ohs makes look very stylish, by the way), it’s an intriguing and very honest look at 21st Century relations.

Shorn of its music, however, Power Ballad pivots between drama and comedy without ever staking a claim to be either; the subject matter could have been bitingly satirical, or a more focused cautionary tale, but instead settles into fuzzy-round-the-edges bromance which, while undeniably engaging, might struggle to stay in the memory once the closing credits have rolled.

In the midst of all this, J-Lo is her usual charismatic self and Goldstein is a twinkly, likeable leading man. Will this go down as a romcom classic? Probably not, but when so many people are having this much fun, it’s hard not to join them.

It’s an unchallenging stinky old sweater of a movie, which might be deeply unfashionable and unappealing but reminds you of the days when you could smoke inside pubs and people used landlines.

OK, it’s all about cartoon emotions, yawningly obvious culture-clashing, hectic space swashbuckling and, ultimately, selling toys. Yet, Gerwig managed to navigate her way through the Barbie plastic mythology silliness to make potent statements about female solidarity and self-fulfilment. Nothing so inspired is forthcoming here, and considering the brilliance and complexity of Knight’s animated debut feature, 2016’s Kubo and the Two Strings, that’s a major disappointment.

This old-fashioned tale may not appeal to kids today. But it’s hard to be down on a film that gets up in the air and back down to land inside an hour, entertaining its audience with wit and whimsy.

To define Tuner as a straightforward crime film would be reductive, though, as buddy-drama and romcom elements are key to its breezy charms.

Ejiofor is at his hangdog best and is matched by Reinsve (Oscar-nominated this year for Norwegian drama Sentimental Value), whose calm, enigmatic exterior masks a mystery from her own past. However, the real star here is the setting and its fascinating metamorphosis from the bland to the downright uncanny.

Some will love it, especially if you enjoy wallowing in genre mash-ups, sci-fi horror and Japanese fetishism. Many will hate it.

Mashing together a heartfelt New York musical with an LGBTQ+ love story, Sachs cradles his cast warmly throughout, crafting a film that feels like a real throwback to his 1996 debut The Delta, in its honesty and integrity of characters on the margins. For sure, it represents the most provocative work of Malek’s career.

It's all richly compelling stuff – a culture war drama that's provocative without being sensationalist.

The result is something that – for better and worse – presents Star Wars at its most light, pulpy and throwaway. It’s the sort of engaging action-adventure story that will play best with younger audiences and those in search of a small dose of escapism, while lacking the grandeur and scale of the very best Star Wars tales.

Hope is most certainly a film that will divide viewers, and it’s not especially difficult to find faults – including with some of its baffling hints at a deeper mythology. But as a crazy action spectacle – best enjoyed with an engaged audience – the sheer enjoyable thrill of it all is impossible to deny.

Sadly, Tom Clancy’s Jack Ryan: Ghost War – what a mouthful of a title that is – emerges as a bland action vehicle shorn of wit or vitality.

Teller and Driver really are terrific – the latter especially great when we discover both the extent of his force and the limits of his bravado. And so even with those aforementioned flaws, there's plenty here to savour, and more than enough for Gray's relatively small but extremely devoted band of die-hards to celebrate.

If there's a downside, it's that although Fatherland barely hits a false note during its brief run-time, perhaps there is a sense at times that it's a little too economical; this is a hugely effective sketch which could perhaps have benefitted from being built out a little further. Still, it can't be denied that Pawlikowski skilfully crafts a bleakly atmospheric tale that leaves the audience with plenty to chew on.

It's an endlessly engaging and often very funny film equipped with arresting imagery, gorgeous design (including some beautiful matte paintings) and no shortage of gleeful gore. Or to put it another way, this is another instant cult classic from Schoenbrun, and it's already fascinating to ponder what they might do next.

While the film arguably lacks the rage-fuelled intensity of Joker, this is still a brooding tale that works hard to reinvent the comic book movie.

Ultimately it generates plenty of fun for the whole flock, and the more it leans into its madness the more it succeeds.

It's a visual treat, often employing split-screen effects that give viewers a more intimate sense of proceedings, and the man of the hour, alongside Yoko Ono and backed by the New York-based band Elephant's Memory, is effortlessly charismatic throughout.

For the most part returning director Simon McQuoid does little to turn this into anything but a serviceable follow-up to a film that feels outdated and outdone by much better recent video game adaptations.

It’s a thoroughly enjoyable reunion – like being reacquainted with old friends.