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.

To be sure, Tjahjanto provides these sequences with bruising action, mixed with a touch of dark comedy, but they are shot and staged without much distinction. And because the audience is now no longer startled to learn that nerdy Hutch can kill people, his ability to dispatch dozens of baddies feels anticlimactic.

The Blue Trail is entrancingly unpredictable in its picaresque unravelling, tinged with magical realist touches.

Although the narrative ultimately goes off the rails, Amamra’s magnetically pugnacious lead gives Animale a consistent pull, while director Benestan’s work with cinematographer Ruben Impens – who also shot Titane – is bustling and kinetic, and intimate when it needs to be.

Marked by strong, reserved performances — and deeply compassionate to its soulsick characters — this quietly absorbing drama has secrets in store, each of them revealed with uncommon elegance.

Late Night director Nisha Ganatra brings a bighearted sincerity and more than a few touching moments, and it is a pleasure to see Lohan back in a major big-screen role. But her charming performance cannot compensate fully for a perhaps unavoidably convoluted plot.

Like the filmmaker’s 2022 feature Barbarian, Weapons takes its time laying out an elaborate story, repeatedly shifting perspectives and main characters until the myriad strands come together in immensely satisfying fashion.

This film may seem stupid, but it takes real smarts — and a lot of joy — to keep the crowdpleasing silliness zipping along.

Viewers are left with some likeable, grounded performances from Pedro Pascal, Vanessa Kirby and Ebon Moss-Bachrach — and a gnawing sense that this visually appealing sci-fi adventure is a missed opportunity.

Four Letters is a tale of signs and omens, destiny and divine intervention, cosmic connections and miracle cures in which love conquers every obstacle placed in its path. It has elements of Edna O’Brien’s early writing, and these star-crossed lovers might have appealed to Powell and Pressburger back in the day.

Part cringe-comedy, part diagnostic study of the modern pandemic of male loneliness, Friendship has several inspired moments, and strong performances from Robinson and Rudd. Ultimately, however, its determination to straddle both camps means it stretches itself rather too thin.

The mix of satirical comedy, action and sentimentalism is not always comfortable, and prevents the film from truly breaking the mould. Yet its bubblegum aesthetic, unchallenging narrative and strong cast, which includes Burning and The Match star Yoo Ah-in, make it ideal summer fare.

More conventional in its later stages, Brick is still a satisfying and watchable audience-pleaser.

This sensitively structured psychological drama benefits from first-rate casting.

It is a fascinating, free-spirited tribute to two men whose lifelong connection to the earth is only rivalled by their bond to each other.

Director Jennifer Kaytin Robinson brings some stylishness to the killings, but I Know What You Did Last Summer’s lack of compelling characters robs the story of its juiciest hook: these brutal slayings are cosmic comeuppance for their duplicity.

In No Sleep Till, it feels as if time is standing still.

Although overstuffed and uneven, at its best Gunn’s Superman combines the most admirable attributes of both character and director, resulting in an ambitious, occasionally stirring film that is weirder, nervier and more thoughtful than most blockbusters.

This sequel’s real sin is the fact the usually fearsome beasts are not suitably terrifying, resulting in some mildly effective action sequences but nothing that suggests the series is in the throes of a creative renewal.

Returning director Gerard Johnstone does not feel the need to rewrite the code, delivering a tried-and-tested mix of action, effects and comedy. Yet the whole thing now feels overly self-aware, resulting in a lumbering actioner that lacks the novelty value of its predecessor.

Like wrapping yourself up in a beloved book, Unicorns takes you to a new place, returning you charmed and changed.

Danny Boyle’s long-awaited return to the franchise he created in 2002 may lack the immediate, visceral bite of his original 28 Days Later, but nevertheless brings a satisfying mix of old horrors and new ideas.

While it may struggle to satisfy diehard Orwell purists, the film still takes a political stance and delivers an emphatic message celebrating equality and the power of the collective – albeit one which permits us a little more hope than was present in Orwell’s 1945 novella.

Scintillating on the track but not as agile away from the races, F1 is a thrilling sports film susceptible to every cliché of its genre, confident that its expert setpieces will outrun all that is otherwise derivative about this underdog story.

The best Pixar films make their dexterous mixture of humour, emotion and spectacle feel effortless but the ingredients do not blend as smoothly in Elio.

Returning director Dean DeBlois (who helmed the animation alongside Chris Sanders, as well as its sequel) has retained the energetic spirit of the original, and he’s helped by some fantastic CGI and a game cast, both of which lean into the fantastical charm of this tale of a hapless young Viking who discovers he is something of a dragon whisperer.

For the most part The Life Of Chuck remains a moving drama that comes close to capturing the infinite value of an individual life.

On its surface, Materialists tackles familiar romantic-comedy debates — contentment versus passion, money versus happiness — but Song approaches these themes with a frankness that makes them feel fresh.