It’s an enjoyable spectacle, and a madeleine for the 1980s: but there was something more to say about friendship, sexuality and the music itself.

In the past I have been agnostic and a nay-sayer about M:I, but the pure fun involved in this film, its silly-serious alchemy, and the way the franchise seems to strain at something crazily bigger with every film, as opposed to just winding down, is something to wonder at.

It’s a testament to Scotney’s performance that Millie retains a perverse kind of integrity even as she dupes herself more than the people around her. A shrewd and promising debut.

A smarter, sharper film might have explored what happens next in an otherwise happy marriage when the spark goes out. Instead, the comedy here is as broad as it gets, with some wildly unconvincing and unhilarious set-pieces.

It’s the only documentary I’ve ever watched with a reading list in the credits – what a treat this film is.

It’s a political thriller that tells the story matter-of-factly, and is perhaps a little lacking in the pace department. But Isabelle Huppert carries it along with a performance every bit as gripping as you’d expect.

Kraken anatomy differs from human in some aspects, but this is a film with its heart, at least, in the right place.

The Perfect Find is as much a tribute to Black love as it is a salute to the Roaring 20s – a fine romance to build a night in around. It meets the give-me-something-old-but-different Hollywood brief with style and wit, and takes care of anyone who might find family here.

Nimona is likable and engaging entertainment that finds its way through self-created chaos to some humane life-lessons.

It’s a pleasure to find a comedy about bought sex that’s pretty funny – and funnier than the pun in the title might suggest.

The first Extraction was entertaining enough but this new one is just cynically about extracting the cash.

As a horror The Blackening isn’t the scariest. But that’s not the point of this film – a Fubu satire smack in the sweet spot between Get Out and Scary Movie.

This is an intriguing, if undeveloped performance piece, elevated by Thompson’s class.

It’s cheerily done and competently made but broadly sentimental to a fault, the strings being pulled too visible for the film’s many coerced moments of emotion to really work. For a film all about the importance of heat, it’s frankly lukewarm.

Snook, of course, is typically excellent, fresh from her turn as Succession’s petulant, scheming Shiv Roy in another spiky role here – but even her performance, as it heightens towards a crazed delirium, recalls Toni Collette’s in Hereditary.

While Harrison’s performance may never fully reveal the nature of the man beneath these sumptuous layers of organza, silk and self-confidence, it’s enchanté Chevalier, all the same.

Some entertaining moments can’t hide the fact that this latest product of the DC Comics universe doesn’t exactly fly past.

An attempt to revive the Hasbro franchise is a careless fumble put together without a hint of effort or interest.

It is a film of style and surface, and these are cleverly created and maintained.

It’s dynamic and intriguing, though the detail and the emotion can get lost in the splurge.

It’s a striking, ambitious film, but there is something about the tone – both glossy and grittily real, stylising everything to mythic proportions – that left me a bit cold.

Outside of Savage’s visual verve, there’s really little else to The Boogeyman, its attempt to use its central villain as a metaphor for emotional trauma never working quite as well as it did in last year’s Smile (horror as therapy is getting a tad exhausting in general). It ultimately works best as further proof of his ability as a genre film-maker, sleekly gliding from a laptop to the big screen, better things to surely come.

Loach and Laverty fervently argue that through solidarity and a recognition of real interests, British people can naturally show empathy to immigrants and refugees.

La Chimera is a film that utterly occupies its own fictional space; it expresses its eccentric romance in its own fluent movie dialect. I was utterly captivated by this sad, lovelorn adventure.

The Machine is as surprisingly stylish as it is surprisingly unfunny.

Breillat’s movie rolls along capably enough while the affair is in progress, but it’s tested to destruction when things go wrong. She is not good at delivering the iciness crucial to the story’s third act, happier as she is with the sunny, languorous sexiness of the amour fou.

This is a superbly controlled and expressed film and its high seriousness about the nature and purpose of art really is invigorating.

It’s possible to be slightly overwhelmed by the scale and the social realist detail of the film, which was shot over a five-year period from 2014 to 2019, but the hope and idealism of the young workers is moving.