It is a good idea and there are good moments in the film, especially at the very beginning when Anna and Aleks have a bizarre encounter with the old woman herself, Rita Concannon, strikingly played by Olwen Fouéré. But then things begin to slide. There are however some resonant ideas here.

As another one of the director’s mid-budget, mid-level crowd-pleasers, it mostly works – well-made enough to distract in the moment but not quite enough to last in the many after, unlikely to catapult him to the top or sink him to the bottom.

Sometimes it feels like a cross between a film studies lecture and what happens when you leave YouTube to keep autoplaying while the all-powerful algorithm suggests more and more content.

Moment by moment, line by line and scene by scene, Challengers delivers sexiness and laughs, intrigue and resentment, and Guadagnino’s signature is there in the intensity, the closeups and the music stabs.

This is a watchable, if somewhat stagey film, and these jump-scare visions, leaping out of the ambassador’s tormented subconscious, might have worked better in the theatre.

Even the fantastical elements don’t make that much sense, magic with rules that are loose and undefined, leaving us with an eye-roll of an ending we can see from a mile away.

Don’t Tell Mom is a justifiably sweet feat that makes latchkey kids across the generations feel seen. Refreshingly, it represents real growth for an industry that would much rather be left to its own devices.

This unbearably cute joint selfie of a movie is gruesomely indulgent and entitled from the first; it allows Ewan McGregor little or no opportunity to show his natural wit and flair and there is oddly no real chemistry between him and his co-star.

Civil War works on the level of intellectual exercise: a film clear-eyed on the horrors of war and trauma in which journalists are the unsentimental heroes, and which relies on the audience to supply their own assumptions of American politics rather than spoon-feed reality. But the distance makes for an at times frustrating watch – stimulating on the level of adrenaline, not emotions.

Back to Black is essentially a gentle, forgiving film and there are other, tougher, bleaker ways to put Winehouse’s life on screen – but Abela conveys her tenderness, and perhaps most poignantly of all her youth, so tellingly at odds with that tough image and eerily mature voice.

It’s as if the film doesn’t quite trust its original moments to stand alone, and instead feels the need to signpost everything.

If Atkinson isn’t quite the Coen inheritor he aspires to be, this hectic flurry of schemers, snatchers and low-lifes puts him three-quarters of the way to inventing a new genre: Texan noir farce.

The cinematography here, capturing the fierce beauty of the craggy landscape, raises the quality an inch or two above hokey cheapness. In the end though, this is movie with right on its side but not a scrap of believability.

If George Orwell had had a career stint as a Korean estate agent, this is the kind of story he might have turned out.

It’s a weird facsimile of a movie – plot with no momentum, plenty of character facts without substance, a pastiche of better movie moments and classic romcom notes. Even for lowered expectations or couch-day fluff, this is a skip.

This 70s-set prelude to the classic satanic horror has flair but struggles with the weight and familiarity of what came before.

The drama is smothered by its own overwhelming sense of importance.

If you have the stomach for singularly focused revenge and some truly graphic, visceral hand-to-hand combat, Monkey Man delivers the goods.

Yannick doesn’t try blurring the lines between reality and performance in any Pirandellian way. The comedy is simpler than that. Yet there’s a touch of sadness as Yannick realises, as many other dramatists have done, that the actors are the ones getting the glory.

Seydou and the others are not exactly masters of their fate, or captains of their souls, to quote WE Henley’s Invictus. They are swept along by power and inequality, but Garrone shows that their humanity and compassion are still buoyant.

It’s still a tremendous spectacle: all four of the musketeers are very attractive characters, particularly the noble and agonised Civil as D’Artagnan.

It’s a work suffused with emotional tones and shades, surprisingly not all of them sad even though the subject knew at the time of filming he had mere weeks left before he’d die of cancer.

It’s a hurricane of slapstick (some of it in fact very funny) and age-appropriate energetic fight scenes, but lacks the sweetness and charm of the franchise at its best.

It’s a still fun yet far sloppier outing, a second round that’s less of a win for us and more of a draw.

The movie starts out very serious and shocking and concludes on a note of pure farce, though I have to say Chastain’s performance has a clenched restraint which is marginally more convincing than Hathaway’s operatic but callow displays of hurt and entitlement.

The section where Lillian tumbles down a film-making rabbit hole is by far the most amusing.

Silver Haze is a sombre, thoughtful film about depression and what is (and isn’t) likely to promote emotional healing, performed with openness and honesty.

Without a doubt this is easy entertainment, never dull, and it has some shrewd things to say about class and money – though the satire might have been sharper and the running time shorter by a good 20 minutes.