Roher’s willingness to blindly accept any and all of his speakers’ pronouncements leaves The AI Doc feeling toothless. ... Clearly, the filmmakers want to present the material in an evenhanded fashion so that viewers can make up their own mind, but in the name of so-called fairness, the documentary lacks any real perspective or inquisitiveness.

The killer mascots may spring the coop, but this sequel never breaks free of its own conventionality.

The perfunctory martial-arts sequences and convoluted plotting conspire to make this a painfully uninspired proposition.

Modi’s ramshackle romanticism never remotely convinces, and – given that it’s about artists who suffered for their radical modernism – it feels terribly dated, stylistically and in content.

Apart from a few quippy anecdotes, the only thing holding Elton John: Never Too Late together is the songs.

The Crow longs to be edgy and sobering, but the shallow, melodramatic treatment constantly calls to mind an insecure adolescent male who is trying to prove how dark and deep he is by dressing all in black and talking ponderously about death.

The result is a clunky, overwrought thriller which leans heavily on cliche.

For all the punches thrown and buildings pulverised, The New Empire barely leaves an impact.

Despite the tantalising set up, Immaculate is a dull, predictable affair, composed of far too many inconsequential jump scares in lieu of sturdy storytelling.

Unfortunately, this adaptation of the popular 2014 video game fails at delivering scares or cheeky laughs, resulting in a tedious experience that relies heavily on horror’s most cliched tropes.

Logic, though, is not at the forefront of The Nun II which, like its predecessor, attempts to force the fear through endless jump scares and bombastic music rather than take time to build any real tension.

While there’s a sense that Korine is fully at peace with a lack of meaning in his work, it’s doubtful that he was aiming to be boring.

Stitched together from better pictures - all of which viewers would be better advised to check out - The Pope’s Exorcist’s one saving grace is Crowe who still, despite the hound of hell that is this film, is a significant screen presence who commits to some dialogue that only Satan himself could have dreamed up.

Even propaganda also needs to have some spark; Ram Setu is a damp squib.

Despite a few touching scenes in which Sophie and Agatha reassert their bond amidst handsome suiters and devious spells, Good And Evil ends up feeling both too busy and too underdeveloped to let their relationship blossom. There’s no happily ever after awaiting audiences at the film’s end.

Feels manipulative and glib ... Farrelly’s tendency toward simplistic bromides in Green Book is even more egregious here.

The film is adrenalised but familiar, sporting a sarcastic sense of humour in an attempt to mitigate what’s so threadbare about the premise and increasingly over-the-top fight sequences.

It’s not hard to figure out the recipe that resulted in Netflix’s Persuasion arriving half-baked from the streamer’s busy oven. Take one measure from Clueless. Cast an American actor as the lead (Dakota Johnson). Turn Jane Austen’s most mature heroine into a Bridget Jones, slugging red wine from the bottle and winking at the camera. Filter it all through a Regency Britain that comes straight from Bridgerton. Shake, too hard, and try not to cringe as the cake collapses.

Director Gail Lerner’s Cheaper By The Dozen is aggressively cutesy while trying to address real-world issues such as race and class. Lerner’s version feels busy and laboured, its sitcom treatment straining equally for laughs and pathos.

It’s an understatement to say that The King’s Man has a weird, unsettling, tone.

Director Stephen Chbosky badly mishandles the material, resulting in an increasingly frustrating experience in which Evan’s inability to come clean leads to a string of emotional manipulations that sometimes border on cruel.

The film is so weighed down by self-importance that the proceedings are embalmed in solemnity.

While the titular criminal gang at the centre of this action thriller may be presented as supposedly quirky and unconventional, the film in which they operate is as blunt-edged and cliched as they come.

For audiences craving shoot-‘em-up carnage, the sequel contains an abundance of explosions, car crashes and kill shots, although the strained air of hip irreverence soon turns suffocatingly stale.

Attempting to celebrate the power of community and new beginnings, Sia’s directorial debut mostly serves as an unintended cautionary tale about chronic whimsy and outdated ideas.

Coward’s brand of urbane casual elitism is rather past its sell-by date. But the problems run deeper in this energetic but scattershot version of a property which might have been best left to rest in peace.

Theatrical, both in its single-location setting and its tone, the film manages to be simultaneously laboured but also oddly opaque.

An unapologetic old-school exploiter going full on for thrills and suspense, it’s undeniably polished and energetic, and features a couple of strong performances from young stars Isabel May and Eli Brown – but it feels fundamentally tasteless, indeed just plain wrong.