As the mysteries behind the strange occurrences are slowly revealed, this underpowered horror film starts to drown in cliches and predictable plot twists.

The shame this film provokes – or should provoke – in collective society will make it difficult and distressing viewing. And there’s no beauty to show here, despite former cinematographer Kelly’s accomplished work. There’s always love, though. If only there was more to go around.

It’s Eva Green who steals the elaborate show, making villainy seem like the best possible career choice for a beautiful woman, circa the 1620s.

As a film concerned with the power of perception, The Goldfinger largely succeeds as a style exercise.

Much like the original, The Lost Kingdom boasts a gleeful exuberance, whether through Bill Brzeski’s eye-popping production design or in Rupert Gregson-Williams’ knowingly overdramatic score. There is a boyish zeal to Wan’s filmmaking, which is not afraid to embrace the goofy or the playful.

That balance of despair and hope, dark reality and a feel-good ending is not always perfectly executed but, as the picture navigates its plot twists and reaches its moving finale, the tonal discrepancies begin to feel insignificant.

The Boys In The Boat is heartfelt and smoothly executed, but this inspirational drama cannot outrace the filmmaker’s staid, undemanding approach, which turns even the most stirring moments into predictable plot points.

Unfortunately, there is not much ingenuity or inspiration to Snyder’s vision.

Very much a collaborative affair between subject Apolonia Sokol and Danish filmmaker Lea Glob, it also functions as a snapshot of millennial creatives and their struggles to balance public and private lives amid external financial and psychological pressures.

This engaging, eye-opening documentary follows Gordon over six years, as a book deal forces her to give up her anonymity and she further explores her own relationships with food, her family and society at large.

Bolstered by a series of fragile, lived-in performances, led by Zac Efron’s astonishing turn as the soulful eldest brother in this seemingly doomed clan, the picture asks troubling questions about fate, fathers and ambition, eventually arriving at some hard-earned answers.

Inshallah A Boy delivers a social realist critique of Jordan’s structural oppression of women and girls.

[A] charming, quirky, dramatically inert new feature.

2018 wears its heart on its sleeve and succeeds as tense, well-paced popular entertainment.

The well-drawn characters, clever plotting and sting of social commentary in a tale of pride and property create an entertaining film that could follow in the wake of Parasite, Squid Game and other South Korean success stories.

Director Paul King brings the same comic sweetness as his acclaimed Paddington pictures, but this delightful, frequently funny musical resides in its own cheeky, bighearted sphere – despite having to adhere to the rules that govern all potential franchises, which treat valuable intellectual property even more preciously than one of Wonka’s prized candies.

A rollicking historical romp with nary a dull moment, The Three Musketeers - D’Artagnan (Les Trois Mousquetaires — D’Artagnan) offers all the sprightly action, jaunty repartee and sumptuous settings a contemporary movie-goer could possibly want.

The Hong Kong action auteur conjures up a few of his trademark over-the-top sequences, but this tale of bloody vengeance is not the most satisfying delivery device for Woo’s unique brand of melodramatic, slow-mo carnage.

Nearly 70 years after the release of the original film, Godzilla Minus One returns the titular beast to its roots as a metaphor for Japan’s postwar anxiety and grief, in the process delivering a stirring spectacle that also contains a palpable emotional undercurrent.

Disney has rarely and so shamelessly plundered its own catalogue — not just in terms of homages to its greatest hits but also in the familiar elements thrown together for this wan fable.

Wagner takes a reserved approach to potentially heart-tugging developments. There is an air of confidence and composure in the film.

Napoleon features exceptional battle scenes as well as tart back-and-forths between these romantic combatants, resulting in a lavish, thoughtful drama that remains entranced and bemused by France’s most notorious emperor — a brilliant strategic mind who could not have been more insecure.

This action-romance provides the requisite thrills while offering new characters and narrative turns, creating a portrait of blossoming evil that is thoughtfully executed.

Unfortunately, this relatively lighthearted instalment, which boasts likeable performances and some unapologetically goofy comedic moments, ends up feeling insubstantial rather than freewheeling.

Beneath all of the visual razzle-dazzle and quick-firing gags, though, Chicken Run: Dawn Of The Nugget is, fundamentally, a familiar, well-executed coming-of-age narrative, in which a youngster is compelled to spread their wings, and parents must learn to let them fly.

While the subtle world-building may be more consistently impressive than the familiar narrative, The Kitchen nevertheless makes its points with style.

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.

A willfully theatrical, proudly retro yet delectably pertinent confection.