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director Simon McQuoid does little to turn this into anything but a serviceable follow-up to a film that feels outdated and outdone by much better recent video game adaptations.

By the time a killer final scene rolls around, The Drama is somewhat limping over the line, but its leads lend a crucial heartbeat to a film frustratingly engineered for discourse, not depth.

In all fairness, Tuason ups the ante in the last reel, the pedestrian tease of what went before giving way to more palpably spooky shenanigans, but it’s a ludicrously long wait for the yarn to step up a gear that runs the risk of the audience having already given up on the whole affair.

While director Bill Condon is adept when it comes to staging all-singing, all-dancing escapism, he proves less successful at nailing the grimmer tone behind bars.

It’s just a shame the formulaic story feels about as paper-thin as you might expect from an adaptation of a ladders-and-levels video game. As is so common in these Hollywood animations, the ‘family is forever’ theme looms large, but never once feels sincere or authentic.

Like an inoffensive light ale, the result slips down more pleasantly than you might expect.

It’s a fun, John Wick-esque expansion of this world that seems sure to satisfy fans of the first instalment, with curious casual viewers welcomed along for the ride.

How to Make a Killing feels less like an heir apparent for our times and more like a distant relative struggling to forge their own path.

It’s inoffensive, tear-jerking, easy watching that, just like the rest the CoHo canon, will probably do just fine at the box office.

Gyllenhaal should be applauded for her ambition, stylish flourishes and obvious respect for the original film. However, there’s a sense that all the elements don’t cohere entirely.

The final act doesn't quite pay off, with characters' motives left frustratingly opaque, but the film is blessed with cast-iron performances, especially from Graham and Boon.

Of the newcomers to the saga, Keoghan imbues Duke with a tender vulnerability beneath all his surface bluster and violence, and his scenes with Murphy give the film palpable heart whenever it runs the risk of being overwhelmed by beatings, bullets and bombs.

There are undeniable faults, plot holes and a dubious ending, although it’s still a crowd-pleaser executed with zest, suggesting Williamson is integral to Scream, if you wanna go faster.

Neville, an Oscar winner for his 2013 study of backing singers 20 Feet from Stardom, devotes perhaps too much time to biographical details fans will already know well, but should be applauded for scratching deeper below the surface of a superstar in transition.

It’s a good exercise for Cooper in creating something more low-key, even if it doesn’t quite come off. Still, in the days where adult-skewing dramas are becoming an endangered species in movie theatres, this should be applauded for attempting the subject of divorce with a level head.

If you just want to see two massive blokes smashing the hell out of people, things and each other, with the odd decent one-liner, you could certainly do worse, and Amazon feels like the perfect home for this hunk of mindless man-candy.

Even if No Other Choice will leave you stone-faced, you can’t help but admire the invention on display, especially in later scenes, where Park dips into the surreal.

All in all, it’s quite a ride, yet the more things it tries to do, the less well it does them.

While perhaps this doesn't quite announce Winslet as a major new directorial voice – her approach is more functional than eye-catching – Goodbye June is still a worthwhile film with some impressive moments, and seems likely to leave many a viewer with a tear in their eye.

Devised by Brutalist composer Daniel Blumberg, the songs are spirited, and Mamma Mia! star Seyfried invests fully. But with characters often reduced to making declamatory statements, it becomes an increasingly vexing exercise.

It should be funnier, it should be more frightening, and it needed everyone involved to bring a feistier game to a film that began life as, well, a game. Here’s hoping any future reservation at the deathly diner has a more mouth-watering menu.

Combining legacy characters with a new trio of younger illusionists, the third film in this action-comedy series is a busily disposable – if fitfully fun – combination of reunion gig and new-generation franchise spruce-up.

The best bits are frightening, memorable and distinctive. Hit and miss then, but Keeper does at least further cement Perkins as one of the boldest independent voices in horror around.

Powell proves to be a charismatic hero, bristling with anger but also able to stay alive thanks to his own ingenuity and much-needed assistance from those he meets on his travels, such as cameoing William H Macy, Emilia Jones (CODA) and Michael Cera (star of Wright’s Scott Pilgrim vs the World), whose mercurial rebel lives in an elaborately booby-trapped bolt-hole worthy of Rambo.

Deliver Me From Nowhere works best when it’s small, when its sharper focus is on a troubled thirty-something burying himself in the creation of what would become one of his most celebrated records, digging deep into music both haunting and healing.

The pity is that one look at the cast list promises riches that never surface; these are hugely talented actors feeding on the scraps of a solid premise made stagnant by the screenplay’s myriad shortcomings.

Certainly, this lacks the cheekiness of, say, M3GAN. With the exception of an amusing riff about Depeche Mode (better than Mozart, according to Ares), it requires a much-needed humour injection. In Tron terms, the future is less bright than po-faced.

It has been a case of diminishing returns regarding the nine-movie nerve-jangling blockbuster juggernaut and while Last Rites hardly matches the pioneering nightmare spirit of the original film, it churns the cliché chills with a pleasing confidence.