The initially taut thriller takes an unexpected tonal shift into overwrought suspense, losing some of its claustrophobic domestic tension along the way.

The screenplay seems a little thin, full of frayed threads which are never properly woven into the story.

The Angry Birds Movie is fitfully funny but tends towards a madcap mixture of comedy and action which never develops much forward momentum. The joke-a-minute approach misses more than it hits, although the bright animation and adorably-rendered characters are decent compensation.

Pixar’s latest boasts the company’s reliably cheerful disposition and gorgeous visuals, but otherwise this meandering, pedestrian affair is never particularly funny or poignant — the hallmarks that once made this studio the gold standard for Hollywood animation.

A handful of bone-crunching, arrow-whirring, neck-slicing battle scenes allow us some time off from trying to follow the convoluted narrative thread.

Lister-Jones gives a heartfelt performance as this unhappy woman coming to terms with her disappointments, and she’s assisted by Cailee Spaeny as her character’s younger self. But the slim story and wobbly execution ultimately undermine some deft observations about depression, forgiveness and the inner child who needs to be heard.

Director Nash Edgerton never really sinks his teeth into the delectable darkness of his hero’s nemeses, struggling to maintain the right acidic tone.

The fitfully amusing Werewolves Within tries to wring some laughs from that satiric premise, but this horror-comedy isn’t inspired enough in either its commentary or its collection of colourful characters to have much bite.

Jonze’s film (his first full-length feature since 2013’s Her) sits in an awkward gap between live performance and event cinema.

Personal and committed as the film clearly is, it won’t come across as a revelation for adepts of this pensive brand of slow-burning visual poetry - of which this seems a reticent and somewhat old-fashioned example.

After the sorry spectacle and blatant xenophobia of London Has Fallen, it’s almost a relief that Angel is merely a competent, second-rate action vehicle. This trilogy’s ambitions have never been particularly high, but at least this third chapter’s fleeting junk-food pleasures aren’t undermined by base pandering.

Trying to split the difference between trashy and classy, Red Sparrow is a sleek, juiced-up espionage thriller that overdoes everything: its brutal violence, its dramatic flourishes, its hairpin plot twists, and most certainly its sexpot shamelessness.

A heartfelt performance from Chris Evans as the conscientious caretaker of his brilliant niece isn’t ample compensation for a film lacking the same intelligence and inquisitiveness that its young protagonist possesses in abundance.

Even with author Ian McEwan adapting his own novel for the screen, this somewhat stilted picture struggles to convey the deft emotional complexity of the source material.

In Moverman’s hands, it becomes a contemporary American fable about savagery lurking behind civilised facades, about class and racial divisions in a country that calls itself united, and about ethical vacuums in a connected, online society. It’s also an unbalanced, uneven ride, a distracting hot and cold shower of intense scenes featuring four terrific actors and long, meandering passages of flashback filler.

Despite how personally the filmmaker connects with this ambitious riff on the Cervantes novel, the long-time passion project succumbs to the same indulgences and weaknesses that have plagued his recent movies.

For all the big themes rustling around in Hunted, they lack the startling ferocity that develops on Eve’s face — for her, there’s nothing theoretical about this study of predatory male behaviour.

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

Annabelle Comes Home has effective scare sequences, especially as the film ratchets up the tension in its final reels, but this sequel ultimately feels too mechanical, and too familiar, to unnerve as proficiently as previous entries.

Unfortunately, much like the light at the end of the tunnel, the thinness of this situational comedy, which continues to hit the same jokes with diminishing returns, becomes glaringly obvious.

Neither the humour nor the script is particularly sharp, although younger viewers may not mind the slapstick simplicity.

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.

The adrenaline never stops pumping in Mile 22, a superficially kinetic thriller that simultaneously attempts to be politically savvy and an ultra-macho shoot-‘em-up. That juggling act proves too sophisticated for director Peter Berg who, in his fourth collaboration with Mark Wahlberg, again demonstrates his sufficient skill at crafting dynamic suspense sequences.

Tom Holland and Mark Wahlberg are a likeable duo, and there are some spectacularly overblown set pieces, but this video-game adaptation ultimately feels too familiar, borrowing heavily from Raiders Of The Lost Ark and National Treasure when it’s not riffing on heist films and buddy comedies.

An overly self-conscious somberness infuses the film, keeping this heartrending tale from being as poignant as it could be.

Max is a genial if somewhat old-fashioned tale that’s too clunky to transcend its genre(s) but effective enough within its own limited emotional range.

Although there are plenty of lyrical moments, Zemeckis’ lack of restraint and some questionable narrative choices undo what should be a moving affair.

Adele Exarchopoulos and Francois Civil may be top-billed, but this unapologetically sentimental drama actually works better in its first half when their adolescent counterparts take centre stage, seizing on the irrepressible excitement of first love.