All told The Zookeeper’s Wife is a story worth telling, even if there are a good number of not-so-hot spots along the way.

Never was a film so candidly designed to sell products, but it has an archival interest.

Holland is very good but he needs someone to play against, someone with Downey’s heft. That someone could well be Zendaya, as MJ, the great love of Peter Parker’s life. We shall have to see how the Marvel franchise plays this romance in forthcoming episodes.

Filmed with competence rather than actual verve, Alone in Berlin works – just about. There’s enough of a thriller about it to hold the interest, even if it’s a bit on the stodgy side.

Despicable Me 3 will certainly keep the younger elements of its audience happy, with its dose of aspartame-rush hyperactivity. But for everyone else it may prove decent rather than captivating.

Very solid, very sound entertainment, with thumpingly good Pritam songs that make Eye of the Tiger seem like pipsqueakery.

For all its topicality, Step Sisters is a bit underwhelming, although it makes for entertaining lite fare in the vein of Pitch Perfect or Bring It On, and the choreography is first-rate.

It is a bit silly, but is likable hokum.

There is a sincere effort to get beneath the facade of what an extremely fit twentysomething firefighter’s life is like. There’s even a possibility that the film’s first act is intentionally distancing so that the later scenes will have a bigger payoff.

Perhaps you can’t ask too much from a modest, mid-range crowd-pleaser like this, but the experience ends up something like a commuter service itself: you know where it’s going and it gets you there perfectly well, but in a few years’ time you’d be hard pressed to distinguish it from dozens of similar journeys.

It doesn’t entirely work, but there’s something about its full-throttle nastiness that lingers, and it’s refreshing to see something that exists in the studio system that possesses so many queasily perverse elements. It’s just not quite as seductive as it thinks it is.

Let It Snow is a prime example of what happens when the Netflix algorithm machine spews out something that actually feels like a real movie. It ticks all the right buzzword boxes for the platform (YA, Christmas, romcom, cast filled with recognisable faces) but does so with such ebullience that you’ll fail to notice, or at least care about, the many strings being pulled throughout.

The real-time agony of the wedding day itself has an edge-of-the-seat factor, and Kooler gives a sensitive, emotionally generous performance.

The film makes clear that being fearless and bold is a luxury megastars can enjoy, but the rest of us end up having to make compromises.

The eye-popping gloss of Vivo will probably lure in impressive numbers for Netflix (the animation itself is generic but impressive) but in a genre that promises so much magic, the spell cast by Miranda and co is a brief one.

There is something so authentic in this film that once you get past the annoying voice and some of the dreadfully unfunny side characters, it is disarmingly sweet and even occasionally clever.

The movie itself is a retread of indie story beats we’ve all seen time and again. Slate’s tornado of a central character doesn’t quite overcome the rote aspects of this production.

Malick does succeed, to some degree, on his own terms; he attempts to give some (stylised) sense of this man’s inner life: his emotional and spiritual architecture. It is admirably serious but static.

It’s an earnest rather then energetic retelling but Stanfield’s stare is indelible.

What’s key is that even though this is a movie about a scoundrel, it’s all very optimistic. Forbes and Wolodarsky keep the frame bright and the filmmaking calls attention to itself only when necessary.

Yellow Birds goes heavy on the brooding, and even though a lot of it looks gorgeous and carries the whiff of great importance it is ultimately stunted by a central event that isn’t worth the mystery that surrounds it.

It’s a very good iteration of the genre, with moody lighting, razor sharp editing and great fight sequences, but be advised that only the strongest of stomachs need apply: it is excessively gory and amoral, even by the standards of such fare.

A decently acted, heartfelt film.

Admirably cynical until it loses its way in the final stretch, The Ticket nevertheless maintains a provocative allure, bolstered by a fiercely committed performance from Dan Stevens.

The film is watchable in its quirky and wayward way, with some funny moments – though shallower than it thinks.

Viceroy’s House is no very profound work, but it is a nimble and watchable period drama.

For all its flaws, Bright is still a headlong leap into a bracingly different new world. Cinema could do with more of that.

Some will be disappointed by the lack of firm conclusions in this film, but if it reveals anything, it’s the intensely personal nature of what people find funny.