Anderson’s short, sweet, neatly managed production follows the original tale pretty much to the letter.

It’s an intriguing, stimulating, exhilarating movie, which really does address – with both head and heart – the great issue of our age, AI.

Indeed, it is not clear how interested director Rudy Valdez is in Santana, or whether he is just doing this gig as a means to an end.

A fiery Dever gives it more than the film ends up deserving, though, rising to a difficult challenge with both the virtual lack of dialogue and a string of sequences that force her to energetically react to a range of digital effects, a performance that almost saves the movie.

More than two decades since the original, Rodriguez maintains his ability to invoke a child’s sense of adventure and absurdity.

Jason Statham is the only bit of genuine oomph in a tired tale whose digital effects could have been shot on an iPhone.

As always, I find myself considering that in a world where everyone’s a cynic and an ironist, Cousins’s unaffected rapture is unique and refreshing. And there is an odd-couple comedy here, with Cousins as the unstoppably garrulous super-fan and Thomas as the reticent English gentleman, almost like a charismatic Cambridge don on the long vacation, who has picked up a voluble hitchhiker.

When the first-time director Bishal Dutta does try to add freshness to the familiarity of formula, he manages to carve his film its own place within two overstuffed subgenres, flashes of intrigue as he veers between schlocky curse and even schlockier monster movie.

The visuals are not exactly cutting edge but the storytelling has bounce and there’s gusto in the vocal talents.

Luckily, there are enough idiosyncrasies to set it apart not only from US superhero cinema but from earlier adaptations of the same story (including a kitsch, cartoonish 2016 take, League of Gods, which starred Jet Li).

Penn’s aim might be true, but his appetite for adrenaline appears to trump his ability to justify why he occupies a position in the red-hot center of a global crisis.

Given His Three Daughters’ fidelity to the cold facts of dying, the final minutes makes a bold and uneasy logic leap that pulls on the heartstrings but feels too neat for a drama this lived in, for sibling bonds this spiky.

Having set out to shock and ultimately shatter his audience, a film-maker unwilling or incapable of hitting the tonal brakes succeeds in his mission, only to compromise a deeper dramatic power along the way.

In the hands of director Alejandra Márquez Abella, it is impossible not to be charmed by this tale of tenacity, commitment and community

This is the kind of movie whose amiable directionlessness and romantic gentleness generate a lot of warmth; it’s the kind of independent film which we haven’t seen a lot of lately, endowed with intimacy and a kind of dreamy charm.

Heavy with grief the film may be, but it’s always a beautiful mourning.

It’s a pleasant enough watch, listening in as these various acts grapple with whichever Bolan masterwork they’ve opted to try – though there’s not much in the way of on-screen fireworks on show, and in any case the film doesn’t get to linger on any single performance; you’ve barely got to grips with one song before it’s off to another.

Love at First Sight isn’t a tear-jerker, rather a lump in the throat at best, and always watchable whenever Richardson or Hardy are pining on screen; the two make falling in love, losing each other, first fight and making up within 24 hours seem perfectly reasonable and emotionally obvious, if admittedly (to themselves and others) a little crazy.

There’s just about enough care and sensitivity in The End We Start From to offset its issues, providing us with an unusual, female-powered alternative within a field of films that are usually heavier on action than words.

With Russia trying to further circumvent the OPCW, this coolly outraged film shows how Washington’s unilateralism has been a gift to even more belligerent parties.

The film too has a meditative effect, with its soothing, gentle rhythms, watching the seasons changing, and sense of time passing.

Silva packs in more penises in five minutes on the beach than I’ve seen on cinema screens in a decade of movie-watching; his representation of hedonistic gay culture feels nicely casual and natural.

Ethan Hawke has good taste, and his past undertakings as director have affirmed that, but the biopic’s big built-in pitfall – the psychologically facile connect-the-dots between a figure’s life and works – swallows up his perceptible esteem for O’Connor.

The focus is on his star quality and the qualities that made him a pioneer: sunniness, grit, passion for his sport, the unconditional love and support of his mother, and his unbreakable confidence to be himself. It’s undeniably heartwarming.

It’s when the script leans into the story’s specificities that the film is at its most compelling – when intersectionality causes ruptures within the group, when we see civil rights giants fail to understand the hypocrisy of their homophobic bigotry, how Rustin manages his queerness in public and in private – and these moments help to provide depth to some of the flatness that’s in the more standard-issue scenes.

Dark Asset finally finds a semi-satisfying groove as John’s grand design is revealed, even if it consists of too many borrowed parts to be a real quantum leap.

Spall keeps the performance tight, projecting not just Jimmy’s damaged psyche but also his wit.

This is very bizarre stuff, even within the traditionally weird parameters of cultural representation in cartoons, but kids won’t mind as it’s one non-stop riot of colour and vroom-vroom movement.