Though sometimes disappointingly broad, Radioactive nonetheless possesses a thoughtfulness that gives the film its stubborn spark.

While that familiarity is Scream VI’s major strength, it has also become its fundamental flaw. The location may have changed, the kills may be increasingly inventive, but underneath all that window dressing it’s the same as it ever was.

Everything in Hidden Figures is smoothly efficient but also a little anticlimactic and frictionless — the story’s happy ending a little too easily achieved.

Loveridge doesn’t seem to trust Maya’s natural significance and strains for the doc about her to achieve UN levels of relevance. Taking her for what she is would have been more than enough.

While we understand Sam’s back story and present situation, we too rarely get a sense of who he is when not struggling against misunderstanding and harsh weather.

Swiss Army Man is a powerfully audacious and wilfully odd odyssey that is too nervy and strangely emotional to dismiss outright but, ultimately, isn’t satisfying enough to provoke a full-throated defence, either.

Hailey Gates’ ambitious debut feature Atropia is full of comic potential that is never quite realised. The mixture of war games satire, deadpan farce and sweet romance provides amusement along the way without cutting as deep as it sometimes promises.

Possessor is ultra stylish and uber violent, but, despite a top tier cast, it’s not always entirely clear what is going on and who is in control of the finger on the trigger.

This twisted fable suggests a filmmaker who gleefully goes to extremes, but the story’s shocks and stomach-churning gags prove more memorable than the underlying observations about the way in which women are pitted against one another in a patriarchal society.

A film of considerable visual poetry and, at times, grandeur, Our Time is unmistakably the work of the ambitious, visionary director behind Battle In Heaven and Stellet Licht, but as a Bergmanesque drama of emotional anguish, the solemn, militantly downbeat Our Time often makes oppressive viewing and at times struggles to justify its nearly three-hour length.

It’s hard not to wince sometimes, even amid all the lewd jokes and proud sexuality in the face of a no-hope future.

Abattoir gets past its clunky storytelling with a great look - dark, shadowed, with a 1940s hardboiled feel - along with some well-staged shocks and scares.

Fremon Craig doesn’t radically alter the conventions of the coming-of-age narrative, and so a general predictability settles over the proceedings pretty quickly. With that said, though, she does a good job observing the relationships between her central characters.

Ponti fills this adaptation of the Romain Gary novel with an abundance of empathy, illustrating how all of us are nursing invisible psychic wounds, but the execution is so gauzy it never quite connects.

Denzel Washington gives a terrifically off-kilter performance in Roman J. Israel, Esq., a fascinating and flawed character study that frustratingly can’t meld all its ambitions into a coherent and satisfying whole.

While this lively crime comedy doesn’t exactly break new ground, it does, in the form of an appealingly naive central performance from Brown, have a disarming, sweet-natured charm at its heart.

A superhero movie with the scope of an epic but the spirit of a mischievous boy, Aquaman is a goofy, uneven adventure that proudly sticks to its loopy vision even if it doesn’t quite work.

The surprise in Maggie is Abigail Breslin, playing a teenager who flares and burns with dread as she becomes aware of the horror of her infection. For a zombie film, her performance delivers real emotion which is rarely seen in this genre.

The sliver of a plot sees An American Pickle stumble in its attempt to be a timely commentary, although its emotional underpinnings give the film a modest charm to relish.

As diverting and gleefully disgusting as it can be, Abigail ultimately has more gore than brains, its funhouse escapism fleeting rather than ferocious.

Hardly lacking ambition or verve, this amped-up fairy tale comes complete with social commentary and a grownup examination of the consequences of seeking connection, but the episodic, intermittently engaging saga frustrates more than it enchants.

There’s plenty of food for thought here, but the script’s penchant for saccharine touches – one aided and abetted by a lilting string-led soundtrack that turns to treacle a little too often – undercuts the authority of the film’s philosophical musings.

The temporal leaps don’t distract us from the fact that the plot is threadbare in places.

Terminator Genisys is a reasonably entertaining and niftily executed sci-fi action-thriller, and yet its ingenuity and craftsmanship are all in service of justifying its existence, resulting in a sequel that can be appreciated for its cleverness but otherwise regarded with a certain amount of ambivalence.

Filmmaker Jessica Palud’s second feature may be uneven, but it hits on something fundamental about its troubled, defiant subject.

In its own deja vu way, Bridget Jones Baby is intermittently entertaining, mainly thanks to Zellweger’s performance.

John McKenna and Gabriel Clarke have been assiduous in tracking down the participants and their descendants, and deserve recognition for the effort they have put in to raising Le Mans for a new generation of fast car enthusiasts and Hollywood buffs.

It stretches character credibility, and resorts too much to criminal-underworld cliché and the driving pace of its own perpetual motion, which curiously does nothing to paper over the longueurs in certain over-stretched sequences. You come out on a high of sorts – but it soon fades.