Egilsdóttir carries the drama, and her overwhelming feeling of relief makes sense of that gigantic landscape.

There’s not much real spark to it.

An illuminating, affecting piece of work.

A strong whiff of phoniness hangs over the whole thing.

The film’s big experiment feels only semi-interesting.

Revolving around of group of multi-ethnic Gen Z-ers in the American south, this message-heavy film tries hard to tackle urgent issues such as social media, familial conflicts and, above all, gun violence. The film only succeeds at peddling barely tolerable coming-of-age cliches.

There’s no doubting that this film was more fun to make than it is to watch, although there is a sort of guilty pleasure in the spectacle of ruins and decay and wondering whether the film-makers actually found a real abandoned resort, or if it’s all a set.

The gags don’t always land, and some of the line deliveries plod painfully on, but there are moments that nail the strange comedy of sexual manners that must be navigated these days.

After a somewhat breathless opening section – yes, we get it, Pierre Cardin was a genius – this genuflecting documentary settles down into a watchable portrait of the late fashion designer that astutely showcases Cardin’s ease in front of the camera.

Lisa Rovner’s superb documentary pays a deeply deserved, seldom-expressed tribute to the female composers, musicians and inventors from the brief history of electronic music.

The trance-like pacing and mystical meditation might frustrate viewers looking for an easy watch, but local film-maker Lois Patiño is clearly operating at the fine-art end of the cinema scale. He applies his distinctive mode to a story that’s both ravishing and unsettling.

Writer-director Justin P Lange finds a satisfying way to update the possession-exorcist theme for a new generation grown wary of the Catholic church’s old ways, particularly in the wake of the abuse scandals that have shredded the clergy’s credibility in recent years.

The meta gets better in Lawrence Michael Levine’s dizzying but gripping comedy Black Bear, which is a recurring nightmare – or rather, an entertainment in two acts about the messy business of making a personal film based on actual events.

A silly and dated new attempt to transport the classic fighting game to the big screen is a late-night drunk watch at best.

The focus on the job at hand works until it doesn’t as with just the slightest of characterisation, we’re invested in the problem rather than those solving it and the grip of the first two acts loosens as the finale beckons.

While some of the in-your-face attempts to combine YouTube videos with animation are jarring at best and annoying at worst, the cautionary stabs about unregulated big tech that come alongside are no bad thing, nestled within the framework of a brightly coloured kids movie. It’s also genuinely funny, a credit not only to the hit-a-minute script but also to a finely picked cast of comic actors

Altogether, it’s a richer devil’s brew than you would expect, crisply edited and moodily shot – even if the last act doesn’t quite hit the spot.

The daft title tries to promise splatterhouse brazenness, but actually fesses up to the film’s lack of imagination.

Ride or Die is well-made and engrossing, despite its occasionally meandering pace.

Writer-director Emerald Fennell (a showrunner for TV’s Killing Eve) lands a stiletto jab with her feature debut, and Carey Mulligan is demurely brilliant as the appropriately named Cassandra.

The film left me shaking with anger more than fear.

Crehan knits it together like a well-worn onesie: you know exactly what shape it’s going to be once you’re wrapped up in it, but that doesn’t mean it lacks for comfort and warmth.

This is by-the-numbers stuff, not quite funny enough for comedy or having enough of the crazed seriousness that marks out a successful superhero franchise.

Ivo van Aart’s movie gives full rein to that desire and is snappily directed – but in the end there is something self-satisfied and sententious about his feminist revenge flick.

Leisurely pacing rather draws it all out a bit, but there’s real inventiveness to the way Park wrong-foots the viewer and handles the operatic displays of gunfire and death – and the leads are rather charming.

It delivers some much-needed laughs.

Ahmed’s performance clarifies the drama and delivers the meaning of Ruben’s final epiphany. He gives the film energy and point.