Rather than screaming for them to go the other way, you'll be urging them to accept fate and die instead.

It’s good to see Hamilton getting a robust role, although, sadly, she has to concede badass superiority to Davis. This sixth Terminator surely has to be the last. Yet the very nature of the Terminator story means that going round and round in existential circles comes with the territory.

As dated as its slow-mo zombie-killing opening credits, at times Zombieland: Double Tap feels like it was made directly after the original yet carelessly forgotten about. It’s rushed and dusty, a film more belonging on Crackle than the big screen, more expensively budgeted than the first yet mostly creatively bankrupt.

This Maleficent is disappointing, although Jolie certainly sells it hard, as does Fanning, who takes it as seriously as anything else in her career.

There’s an almost meta-maturity, as if Scorsese is also looking back on his own career, the film leaving us with a haunting reminder not to glamorise violent men and the wreckage they leave behind.

The film is just a machine, slick but soulless and with parts in need of a touch-up. Not broken exactly, but more, ahem, fractured.

It’s a diverting scenario, though maybe it doesn’t quite have the “danger – high voltage” thrill of Morris’s other works.

One watches Chalamet’s performance here with a simmering unease, willing him on but wondering if he is entirely fit for the task.

Here’s a defanged, declawed yeti in an animation whose every beat, character and narrative component feels as if it has been algorithmically tested for commercial safety by a computer programme.

It’s a heartfelt, funny, satisfying film.

While it has both style and content, El Camino feels more like a feature-length TV episode than an actual movie. It is too compact and fragmented to truly stand on its own, and viewers who have not seen the preceding 62 hours of Breaking Bad will likely struggle to enjoy it.

It’s a charismatic performance from Adewunmi, and Amoo’s camera often comes in close to his face and his gaze, suggesting that Femi is on the verge of some kind of epiphany or vision – and it’s nothing to do with the drugs.

What’s crucial is how Senese and cinematographer Andy Duensing film these elements: patiently, attentively, with a feel for space and ambient atmosphere, and a reluctance to offer easy explanations that invites tantalising metaphorical readings, and counts as recognisably Carruthian.

Wells’s coolly indirect way with dialogue prevents the movie becoming insufferable in the way that it might have done in other hands. It is like a short story that insouciantly signs off before you’ve quite decided what it means.

[Gibney's] film does present Khodorkovsky in context in a way that I haven’t seen before. He was the oligarch smart enough – and ruthless enough – to do as well or better than anyone in the Yeltsin/Putin free-for-all years, and then his smartness and ruthlessness perhaps gave him a perspective on it all.

Despite featuring big-name actors – Miller, Paul and Mad Men’s Christina Hendricks as Debra’s sister – American Woman is a film with a lived-in authentic feel. And Miller plays it beautifully with psychological depth and not a jot of actorly condescension.

The ending is unforgivably mawkish, though, and the running time of two-and-a-quarter hours is simply too long.

A movie with flair and force.

While some of the nastier lurches in the third act will appease genre fans, the guff that surrounds them will probably confuse and ultimately alienate them, the film’s moving parts never really moving in unison.

The gusto and pace put many of 2019’s American blockbusters to shame, and – right through to a wildly overcranked final act that throws up surprises like spindrift – Lee balances vertiginous, windswept set-pieces with satisfying character beats.

The digital novelty is striking for the first 10 minutes, silly for the next 10 minutes, and by the end of the movie you’re pining for the analogue values of script and direction.

There are some neat, borderline gory animations to illustrate how concussions work, which for this viewer were a lot more interesting than the endless stretches of racing footage. The anonymous, off-the-peg score of backing music and flat editing, however, still make this a bit of a slog.

This film is a distinct, articulate pleasure.

Jamie Bell’s tough performance carries this forthright, earnest, if limited drama.

Art born of outrage has to be more rigorous – and we might also contemplate what merit there is in guaranteeing prospective terrorists a filmed account of their misdeeds.

Throughout the film, the cast engage in so many wonderfully measured scenes of mayhem that the fun they’re clearly having radiates from the screen.

What a gloriously daring and explosive film Joker is. It’s a tale that’s almost as twisted as the man at its centre, bulging with ideas and pitching towards anarchy.

With Aniara, the Swedish writing-directing team Pella Kågerman and Hugo Lilja deliver a cold, cruel, piercingly humane sci-fi parable that’s both bang on the zeitgeist and yet also unnervingly original.

What this solemn and enlivening documentary plunge into the history of Ridley Scott’s sci-fi classic reiterates is the idea of film as a collective art form – not just the wider circle of writers, performers and technicians beyond the director, but in the case of the truly great films, serendipitous access to a deeper collective unconscious to which we all have the keys – even if few know how to use them.

I’m not convinced it amounts to any more than the sum of its parts, but the parts are intriguing – and some are possessed of real power.

It’s a disquieting parable of iniquity.

You will no doubt bail out at some point – but that’s part of the deal. Llinás has done enough to make sure we come back.

There’s little room to breathe in writer-director Chinonye Chukwu’s constricting, devastating drama Clemency, an intentionally airless film processing a tough subject through an unusual viewpoint.

I would have liked (in a spirit of devil’s advocacy) to hear from an economist about the measurable benefits or otherwise of this brutal approach, and perhaps to ponder the climbing global population. These reservations hardly diminish the film’s force.

Even with an intelligent, credible performance by David Oyelowo, the daftness and utter implausibility of a smartphone so smart it can make calls to the future is overwhelming.

There’s a slicker, more coherent and ultimately more thematically audacious film to be made from the disparate elements that make up In the Shadow of the Moon but what we have is a lovable mess nonetheless. Its ambitions are easy to criticise but hard not to admire, a mad little movie with big ideas on its mind.

It’s neither a rousing success nor an embarrassing failure, falling somewhere in between, closer to admirable attempt.

It is heartfelt, but its periodic attempts at thriller-style bouts of excitement are redundant, and I wondered sometimes if the film-makers were sure what exactly their story was.

There is such tenderness to this film. I was overwhelmed by it.

Perhaps the film’s overwhelming ace is an overarching awareness of just how pointless it really is, made with the same disposability with which it should be consumed.

Cringemakingly written and clunkily directed, and even the final action sequence runs out of steam after a minute or so.

It’s an extraordinary picture, steely and unbending and assembled with an unmistakable air of wild-eyed zealotry. Ad Astra, be warned, is going all the way - and it double-dares us to buckle up for the trip.

What a thoroughly likeable and funny film.

There are, arguably, scenes in this film which are less than subtle – and there were times when I wanted something more indirect. But Manville and Neeson have a real empathy and intimacy on screen.

It’s a deafening misfire, like the most unbearable, unwatchable daytime TV soap filled with the most awful self-conscious hamminess, parodic emoting and pointless shouting-at-each-other acting.

It is a very grueling spectacle, often brilliant, sometimes slightly redundant and perhaps not able to maintain the storytelling rush of its first act. But it is always weirdly plausible in its pure strangeness and in the oddly poignant moments

While the screenwriter, Brad Ingelsby, does root us in the minutiae of the trio’s day-to-day, it’s never in particularly interesting ways, and over an indulgent 135-minute runtime, we gradually grow tired of them, often questioning exactly why we need to know so much about their lives.

We’re in safe, formulaic territory here, think Calendar Girls with less nudity and more harmonising, and it’s the film’s strict adherence to the rules of the subgenre that proves to be both a blessing and a curse. It works for the most part because, when done well, there’s something irresistible about the formula ... But there are also times when Military Wives starts to creak.

Though one very sharp montage nails the bewilderment of touring, much of As It Was resembles any other rock doc with an access-all-areas pass, and it has one of those contractual-obligation climaxes designed to dovetail with the wider promotion of new material. It benefits considerably from a subject who’s bolstered his charisma with a newfound humility, an awareness of the world beyond the Roman nose.

This is such twaddle it becomes kind of fun, except that there’s an uncomfortable feeling – as with many vigilante movies – that the film is revelling in the sexual violence and covering itself with the fig leaf of justice-seeking.

Sifting six years’ worth of rubble, al-Kateab turns up beauty and one earthly miracle to set alongside the horrors, but horrors there are.

An enjoyable double-act – but not an infallible one.

It’s a heavy meal to digest, but this is a strong, vehement film with a real sense of time and place.

It’s easy to read the film as a not particularly subtle metaphor for fascism or “the war on terror”, and its black hats aren’t so much characters as automatons.

It is a witty, intriguing film in many ways ... But I also feel the film is unsure of how much to disturb its audience, unsure whether to pursue the chaos and embarrassment of a bungled, noir-ish crime and an unsightly psychological disorder, or to contrive something more emollient: to finesse some sympathy and even heroism for the story’s troubled female lead.

Greed isn’t especially penetrating about money or power. ... Winterbottom chucks everything up to and including the kitchen sink into this movie: sometimes it works and sometimes it doesn’t.

Honeyland really is a miraculous feat, shot over three years as if by invisible camera – not a single furtive glance is directed towards the film-makers.

The result falls somewhere between a slave-escape drama, an action thriller, a western and even an unexpected kind of superhero film. It’s a winning combination, although Lemmons does not immerse us in the agony and injustice of slavery as such; she puts together a well-crafted movie that is the showcase for an excellent performance from Erivo.

It is a film with charm and the chemistry between Jones and Redmayne has something rather platonic and even sibling-like, but that isn’t to say there isn’t a spark of sorts.

It’s a slight movie at times, unfocused at others, even plodding in parts, and I didn’t leave the cinema entirely convinced that it was the most satisfying way to tell this particular story but I did leave feeling confident in both Jackman’s prowess and Finley’s promise, yet to be fully realised.

The admiration for a woman who knew so much about so much clashes with the unspoken assumption that the audience knows absolutely nothing about anything.

It is crammed with unearned emotional moments and factory-built male characters whose dedication to their sport we are expected to find adorable and heroic by turns.

The plots are rickety and the characterisation has the depth of a Franklin Mint plate, but there are some funny moments and Kevin Doyle, playing the overexcitable servant Molesley, pretty much steals the entire film.

About Endlessness contains moments of devilish wit, but at heart it is a sad, sweet picture, threaded with themes of estrangement and separation. Andersson isn’t exactly asking us to laugh at or pity these people. Instead, we’re being encouraged to wonder at their predicament – and perhaps relate it to our own.

While I confess that I found Ema to be a notch down on his best work, it’s still hugely distinctive and daring and may well be a grower.

The performances are strong and full of passionate conviction, which somewhat moderates the problematic aspects, while the use of natural light and tacky seaside textures does succeed in generating some atmosphere.

I can state without hesitation that this is a monumental piece of work and one I’m deeply glad to have seen. I can also say that I hope to never cross its path again.

Cretton ... can’t quite rise to the material or his performers, choosing anonymity over ferocity, making the dullest, safest decision at every turn. It’s not enough to topple the fascinating true story at his film’s centre but it does have a frustrating, flattening effect.

Nicholson fails to give his film the specificity and emotional depth required to make it seem necessary. We’ve been here before and nothing in the film’s 100-minute length truly justifies why we’re back here again.

It’s less of a film and more of an actors’ workshop, an exercise for everyone involved but meaningless to us.

Lopez slinks through Hustlers with a deceptive ease, as in control of the film as her character is of her situation. It’s the sort of role that only a true movie star could pull off, so much of it reliant on a rare, intoxicating magnetism.

I enjoyed the jolt of strangeness delivered by this world of demons stalking the Earth. But the action is hit-and-miss.

Like the first film, it becomes a virtual non-narrative anthology of standard jump-scares that could be reshuffled and shown in any order. The second time around, your tolerance for this is tested to destruction and beyond because, unlike the first movie, it is just so pointlessly long.

The Informer is spread over a big canvas, but by the time of its big finale it is leaking energy. It might have made better sense as an episodic drama on television but it is brash and watchable, its world reeking with cynicism and fear.

The Perfect Candidate is a simple story, told without frills or even much in the way of nuance. But it’s socked through with great power, conviction and an underlying hope for a better world.

What an intriguing and unexpectedly watchable film. Bait is an experiment – and a successful one.

The film is glossy, illuminating and frequently exciting. What it lacks is an emotional charge and a fine-grained texture. We need to invest in these people in order to understand their decisions – and care about the consequences of these.

No one in real life speaks the way they do in this film. No genuine drama is this crudely ordered drama, with its telegraphed turnabouts and conveniently-placed confessions, all building to a stage-managed plea for tolerance and unity.

The movie’s a great night out, but you sense it’ll also become a priceless resource.

An entertaining showcase for two first-class performers.

The film’s prize asset ... is Meryl Streep.

Zellweger gives us a tribute to Judy Garland’s flair and to that ethos of the show needing to go on being both a burden and driving force. Yet Garland’s terrible sadness is mostly invisible.

We get some lovely photography of the Highlands and the breathtaking landscapes all around Inverness, and Hancock is always a potent presence. But she could have done more, conveyed more, with a story that wasn’t so basically simplistic and familiar.

It’s a solid, well-crafted piece of professional carpentry, like a heavy piece of Victorian furniture; built to last; built to be used. The longer you look at it, the more impressive it grows.

A Million Little Pieces is a weirdly unreflective exploration of the destructive force of addiction and, setting a new benchmark for blandness, drags on for what feels like a million not-so-little minutes.

Brilliantly, Schoenaerts almost underplays Roman’s anger, lumbering slowly like a wounded animal, the downward slope of his eyes conveying a howl of rage. It’s an electrifying performance.

If some elements of Angel of Mine are simplistic, Rapace’s magnetic performance is anything but.

It’s handsome, it’s amusing, it knows exactly where it’s going. All that is missing is that crucial fifth gear.

This time, his journey doesn’t send him to the ends of experience. Instead, he goes on a smug odyssey of know-it-all-ism that yields a scant few factoids we didn’t already learn from his first film.

With her funny, light-hearted documentary, Penny Lane lets the sunshine in, focusing on the Temple’s message of open-mindedness and inclusivity – LGBTQ followers speak of a sense of belonging.

It’s a nonsensical premise and a pretty incoherent, painfully inept film.

The kids – particularly Zoe Colletti as the sensitive Stella – are very good, and it just about functions as a brainstorm of primal fear scenes, the movie equivalent of a horror-comic summer special: good for the odd giggle and shiver, if naggingly disposable.

As with Den of Thieves, Angel falls into the “lively mediocrity” category of Butler schlock, with one or two plot hikes that suggest the script meetings were well-refreshed.

The intelligence of Kent’s direction and the humanity she reveals in both Clare and Billy give the film its arrowhead of power.

As a comedy, it’s simply not funny and as a horror, it works better in pieces but not with the consistency a film set over one night would require.

The film is constantly defining what ugly is: freckles, crooked teeth, excess weight, glasses, clumsiness. At times it feels like an unintentional crib sheet for under-sevens bullying.

The knowing tone again feels like Hollywood confessing to trading in material few could take seriously, yet a certain sincerity is evident in Moner’s winning performance.

It’s a very forthright performance from Dern, but Stewart is simply too opaque and subdued in the role of Knoop. The film itself pulls its punches, unwilling to satirise either her or the egregious Albert too fiercely; it is inhibited about really attacking the vanity of the situation.