Nothing here is to be taken very seriously at all but it is mostly devoid of the suffocating, and often nihilistic, smugness one has come to expect from modern action films.

The cast nurdle matters along to the climactic real ale awards, which becomes the scene of current cinema’s least surprising surprise result.

It’s all too clumsily calculated to deliver the raucous two-drinks-in blast it so desperately wants us to have and in a year that’s already given us better, bolder B-movie examples than usual (Sam Raimi’s Send Help and monkey-gone-mad horror Primate), it creaks that much louder. It is film-making far too in love with itself to care if you love it too.

The film creates space for Hinds and Manville to give substantial, intimate, complex performances of the kind that most movies (of whatever sort) do not allow their leads, and Manville in particular is very moving.

It is perhaps too much the acquired taste (and smell) to appeal to everyone, but it’s distinctive, never dull and – much like its most noxious niffs – difficult to shake.

For a film about the inevitable eradication of most life on Earth, Arco isn’t as depressing as you might expect, as it finds a tiny thread of optimism to hold on to.

Ben Wheatley’s Happy New Year, Colin Burstead is a hothouse flower of misery, sprouting dozens of resentment-buds under artificially controlled conditions.

We know he is an intelligent man who lives in this world – the silent supposed bafflement and dependence on giving people enough rope to hang themselves, which are such a large part of his arsenal, look like increasingly feeble weapons when the matters are of such increasing importance in all of our lives.

There’s also no real satire here either (moneyed folk are apparently bad, did you realise?) and at this stage of the rich-eating cycle, I just want it to be over. Forget a killing, Ford has made a real mess instead.

Reminders of Him does, in fact, remind of that earlier time, when It Ends With Us over-delivered on sweeping sentimentality, a brief glow before everything curdled. We cannot go back there, but I’ve heard far less pleasurable echoes.

There is an undeniable energy and spookiness to this low-budget chiller, which makes intelligently modest use of digital FX in a way that some bigger-budget projections would do well to emulate.

This is a Hail Mary pass that Gosling just about manages to catch.

Visually ravishing though it is, Scarlet is a hefty disappointment from director Mamoru Hosoda, a leading light from whom we expect more than an incoherent and overbearing fantasy.

Like the film around him, [Ritchson] does what he needs to do, everything here just about serviceable for the moment yet never memorable enough for the moment after.

The movie’s ironies and cruelties clatter across the screen, but Komasa also allows the audience to consider who it is Chris really wants to train.

It is a resoundingly confident drama.

Without Buckley, this would have been lacking; with her, it’s a very bizarre and enjoyable spectacle of married bliss.

The biggest problem with Outgunned though is that it seems to have fallen prey to one of the stupidest of modern issues in cinema: a luxuriously padded run time.

The layering of one creepy thing on to another creates a sense of silliness rather than terror, leaving you with the sense that Coco Chanel’s maxim about the perils of over-accessorising – “Before you leave the house, look in the mirror and take one thing off” – also applies to writing and editing horror movies.

It’s a bit of a snooze, but Therese is very good at channelling terror and distress.

It is quite a vision: mordant, satirical, brutal.

The film perhaps suffers from a loss of nerve about how villainous to make the villain, but it zaps along very entertainingly.

There’s just about enough here to show signs of life...but Williamson often feels like he’s treading water when he should be drawing blood.

Written by Colby Day, In the Blink of an Eye attempts no less than the sweep of life from big bang to unknown verdant planets, with the emotional depth of a tide pool and the complexity of a cave painting.

It’s not a deep work, but it’s relentlessly fun if you’re not squeamish, or indeed sentimental about animals getting killed in the opening minutes.

Chopra Jonas gamely commits to the pulpiness of The Bluff, even as it doesn’t ask much of her beyond its impressive action sequences and a few tart one-liners. But there’s cinematic swoop to the movie that you might not expect in a straight-to-streaming swashbuckler, and you feel the grisliness as she drags herself along the ground in blood-splattered clothes like so many final girls of gory slashers before her.

There might be just about enough competence to Polone’s film-making to ensure this won’t be the worst horror film of the year, but it’ll probably be the least necessary.

It might work if Rita was a more appealing protagonist, capable of wringing out gallows humour or personal tragedy from her predicament.