Appropriately for a group known for its theatrical, crowd-pleasing tunes, this authorised-by-the-band biopic carries itself lightly, serving up familiar plot points with panache and a sense of humour, while at the same time investing in the story’s emotional through-line, building to a genuinely moving climax.

Mary Shelley is ultimately the story of a woman finding her own voice and asserting her independence and that will be the heart of its appeal.

Bullet Train has no shortage of giddy, madcap gusto, hoping to satiate hardcore genre fans with its bloody, over-the-top violence and rising body count. But this lumbering locomotive proves to be neither hilariously amoral nor liberatingly violent — it makes quite a commotion, but mostly just spins its wheels.

This is a nostalgia play composed of admittedly funny and gnarly moments that do not string together into a satisfying whole.

Although stuffed with ambition and the occasionally arresting moment, this 1930s mystery flaunts a freewheeling spirit that far outpaces its convoluted story and dramatically thin protagonists.

Unimpeachably honest intentions and a solid, laid-back lead performance by star Reda Kateb mean that at least the film won’t be derided as Django Untuned.

It’s a commercially marketable prospect, sure, thanks to a committed performance from Julia-Louis Dreyfus (who also produces), but Downhill has also groomed out the subtlety from the original Swedish-language source material in some wincing stabs at cross-cultural comedy.

The feature debut of Vladimir De Fontenay is an accomplished piece with a committed central performance from Imogen Poots, but the emotional impact is lessened by an air of predictability and the sense that every bit of fresh hope is destined to end in disappointment.

The stubbornly naive Horizon series — which may encompass up to two more instalments – is both enjoyably retro and fascinatingly aimless as it attempts to resurrect an old genre with gleaming sincerity.

A girl-and-her-horse adventure that never really hits its stride, Spirit Untamed offers undemanding family entertainment alongside some easily digestible life lessons.

The fourth installment of the Insidious series has deft scares and some nifty twists, all of which don’t entirely distract from how strangely inconsequential The Last Key ultimately feels.

Although the two leads have a steamy rapport, their chemistry cannot overcome a predictable and shallow saga about grief and second chances.

A solidly engrossing political drama, anchored by a commanding central performance from Liam Neeson.

Qualley brings the required smoky-sexpot energy, but Julia is so underwritten that the actress turns her into an unintentional parody of a familiar character. Also disappointing is Powell’s glib portrayal of Beckett.

A meandering, sluggish tale that offers moments of great beauty but ultimately feels like a ragbag, take-your-pick bundle of poetic and spiritual suggestions inspired by China’s great Yangtze River.

Terry George buries a worthy subject in a stuffy story of unrequited love and selfless heroism that gives off a strong scent of mustiness.

Two Steve Carells most assuredly aren’t better than one in Despicable Me 3, a winded sequel which is cloying when it isn’t exhaustingly frenetic.

Venom: Let There Be Carnage is a grander spectacle than the mediocre 2018 original, offering monster-movie mayhem with a welcome sense of humour about its own ludicrousness.

No doubt the world needs more paeans to tolerance, but movies as ineffectual as The Best Of Enemies feel profoundly inadequate to the task.

A bravura performance from Matthew McConaughey as a schlubby, roguish mineral prospector in desperate pursuit of the American Dream is the seam that gives Gold its value.

Although much of the film is effectively claustrophobic, it is too bogged down by exposition to fully take off.

Enfant Terrible is somewhat repetitive – ever more shouting, more hedonism, more tainted glory – but it’s never boring. It’s just not very insightful – full marks for the style, but the substance is best found in the books, and in the various documentaries about the man.

Beautifully shot, with a deft command of period detail and a starry ensemble cast, Costner’s Civil-war set epic offers an old-fashioned celebration of the pioneer spirit – and a clutch of storylines that never quite have time to engage before the film moves on.

This Prohibition-era drama deals limply with themes of loyalty, love, power and redemption, but not in any unique way, its emotional punch as vague as its cipher of a main character.

Intense battle action and rousing heroics just about make up for the dramatic shortcomings of 13 Hours: The Secret Soldiers of Benghazi.

This is a film that often feels more assembled than directed, crucially lacking the sheer verve that would enable it to transcend the influences that it proudly wears on its dusty sleeve.

Golda is a tentative step towards looking at that inflammatory era with the depth it needs and that’s worthwhile: but plucking Golda out of her own life and that time out of its wider context still feels like a missed opportunity.

Tongue firmly in cheek and sporting a taste for blood, The Predator has some nasty down-and-dirty pleasures, but director Shane Black can’t entirely reconcile his lightly self-mocking tone with the film’s muscular B-movie action.