Taking the reins from Michael Bay, directing duo Adil & Bilall supply loads of energised style, but without the panache or shamelessness of their predecessor. As for stars Will Smith and Martin Lawrence, they don’t seem rejuvenated by this reunion, mostly re-creating the forced back-and-forth quipping that wasn’t even fresh back when they were younger men.

Action fans should savour the spectacularly violent set pieces, but a bland villain and an underwhelming narrative ultimately prove even more lethal than de Armas’s fighting skills.

Despite Willem Dafoe bringing gnarled gravitas to a screenplay which pinballs between oblique portent and grotesque shock tactics, this is an incoherent indulgence.

An iconic comic-book villain gets an appropriately epic origin story in Joker, which allows Joaquin Phoenix’s raw talent its grandest stage yet.

While this story of a mermaid who gives up her enchanted life to follow her heart onto the land has been given the full cutting-edge CGI treatment, the slow pacing, often-overwrought emotion and undeniably outdated story mean that it fails to make much of a splash.

Natural Light is a tough, slow film that makes demands on its audience – though much of the real horror is as just-off-screen for us as it is for Corporal Semetka. But it’s also an absorbing, beautifully crafted, thought-provoking addition to the new Hungarian cinematic wave.

The sheer energy of the performers, especially an exuberantly funny Mamiya, and the slapstick goofiness of the whole make this an eccentric, hugely enjoyable film - and often, partly because of its relative demureness, a fairly arousing one, with female pleasure and male discomfiture foremost on the menu.

It’s a visually rich and moodily atmospheric film with a keen sense for the unsettling, even if it boils together a mélange of somewhat familiar ingredients.

Although rarely as compelling as the estimable director’s finest achievements, it certainly merits attention as a sumptuously detailed evocation of a rarefied world defined as much by a unique set of rules as its abundant material comforts.

The Magician has an intensity and power many conventionally budgeted thrillers miss. Robustly funny, X-rated dialogue delivered with laid-back confidence and stomach-turning nonchalance also help.

The result is an intense baring of the soul that is part performance, part confessional and all entertainment.

While there’s energy and edge to the picture, Cruella feels stitched together from different influences in order to justify a rather blatant attempt to renew interest in a moribund property.

You just wish that director Park had managed to execute the film as a whole with the crisp efficacy of some of his individual sequences.

Primate is often a blunt instrument, but these set pieces exude a little elegance in their sustained dread.

Director Jay Roach’s adaptation proves too broad and tonally erratic. In the process, he undermines game work from Benedict Cumberbatch and Olivia Colman as a husband and wife who can still sometimes see past their animosity to remember the love that once seemed indomitable.

Ready or Not 2: Here I Come delivers short-term thrills in an emotionally hollow gore fest.

Refreshingly, there is no clichéd love story or illicit thriller that emerges; Marston is pursuing ideas that are far more personal and philosophical, about the masquerade of identity and what it means to that identity when you make a significant change in your life.

Dramatising Steinem’s life during different periods, and with different actresses, Taymor has crafted an exceedingly thoughtful portrait of a leader and the women’s movement she championed.

It’s an entertaining, engaging, colourful picture in its own right with decently-handled action-adventure set-pieces and sly comedy, detouring from the expected thrills and spills into body-hopping comedy drama.

Get Away attempts to blend Withnail-like irreverence with Wicker Man-tinged folk horror but, while some of those elements hit their mark, the film’s tonal swerves undermine its more original aspects.

There’s a B-movie purity to how this franchise conducts its business, eschewing the flash of modern blockbusters for a more pummelling, elemental approach to its shootouts and hand-to-hand fight scenes. On top of that, The Accountant 2 has added a winning sense of humour to the equation.

Deutch, who appeared in Beautiful Creatures as well as Richard Linklater’s Everybody Wants Some, delivers a sympathetic lead performance, carrying the film with equal doses of sweetness and grace, strength and vulnerability.

While the film stumbles and meanders, however, there’s no denying that it delivers enough set-pieces for three regular horror films.

As a satire about L.A. living, the movie delivers its fair share of zingers. With a script that recalls Whit Stillman and TV sitcoms, Morgan’s crisp dialogue sometimes hits its target.

Gloriously ludicrous and stridently melodramatic, F9 is fuelled by its own goofy energy, delivering comically grandiose chase sequences and shameless fan service all in the name of giving audiences an uncomplicated good time.

Its smooth efficiency offers plenty of sturdy pleasures. What’s missing are the emotional underpinnings that made these movies not just top-flight action vehicles but also stirringly soulful.

Flamin’ Hot is a breezy affair accented by Jesse Garcia’s winning performance as the budding Mexican-American entrepreneur, but this underdog tale ultimately proves to be too unremarkable to generate much heat.

The film’s lavish production values and a comic register more impish than truly acerbic makes this a surprisingly cosy piece of luxury heritage cinema.