It’s hard to know how seriously we’re supposed to take any of this when it’s so unclear what the makers’ intention is and so the film’s deeper cuts fail to truly wound because so much of it is mired in silliness.

Under Callaham’s inelegant pen, the characters all speak in this overexcited 13-year-old’s vernacular, prone to F-bombs and dick-talk.

There’s real, seat-edge fun to be had here, the sort of fun that’s too often missing from modern horror.

Once the bloodletting starts, Calahan interleaves it with witty asides and the pacing picks up a lot, all combining to make this impish if flyweight entertainment.

For fans of Black Widow and everyone else, this episode is great fun and Harbour could well ascend to spinoff greatness of his own.

While The Ice Road might not be quite as cut-and-paste as some of the others (there’s less revenge-taking, skill-listing and name-taking than usual), it’s still familiar enough for it to feel like we’ve seen him do this exact thing before.

As the film crashes to a conclusion, early promise fading away, the film has the feeling of a valiant, but misguided, post-Get Out attempt to infuse social commentary within the framework of well-worn genre territory, aiming high but landing low.

This deafening fantasia of internal and external combustion delivers outrageous action spectacle magnificently divorced from the rules of narrative or gravity. . . . I think we can include Isaac Newton among the people who are getting their asses kicked here.

It all goes off the rails in the worst way in the chaotic final act, as Schlesinger invents a farcical, and increasingly ludicrous, way to wrap things up, the truth of what happened proving far too pedestrian for the framework she’s created.

This film isn’t really sure where it’s taking us and how, or if, it wants to surprise us, and the key scene with Klaudiusz doesn’t work.

Ciorniciuc and his co-writer Lina Vdovîi, in allowing events to unfold slowly in front of the camera, have created a beautifully measured portrait of an amazingly resonant topic.

Given the inherent lack of drama in the kind of unbreakable faith on display here, anyone wishing to tell the story needs to work much harder than this laboured treatment to wring any nuance, conflict or indeed true sublimity from it.

It is opaque, sometimes eccentrically comic, but intriguing.

This underdog, coming-of-age sports movie has a big heart but lacks the competency to execute its aspirational premise.

Like the drilling operation, this was a script in sore need of a clean-up operation.

A lairy, likable film.

The family dysfunction stuff is sensitively handled with some originality.

It all feels very dated and artless, like someone’s grandpa wrote the script 50 years ago and it was found in a drawer, then financed and made with a not inconsiderable budget for extras, vintage tanks and lots of old uniforms.

It’s string-pulling Pixar formula but done with just about enough effectiveness to work (do their films ever truly fail?). It doesn’t have that emotional kicker of an ending we might expect and hope for, it’s far too slight to evoke an ugly cry, but it’s breezily watchable, low stakes stuff, handsomely animated (on dry land, in water less so) and, like Disney’s spring adventure Raya and the Last Dragon, refreshingly free of romantic diversion, prioritising friendship and self-discovery over getting the boy, girl or sea monster.

Hart comports himself with a more dialed-back version of the jittery everyman affability he’s developed over decades in the comedy circuit, a schtick that reads as just that – a pose, a well-honed affectation. There is an immense and documentable falseness at the core of his performance that drags down the salvageable movie all around it, far from the redemption arc clincher his handlers may have had in mind.

In the Earth brings us back to Wheatley’s classic world of occult loopy weirdness and cult Britmovie seediness, with a new topical dimension of pandemic paranoia, and what keeps you watching is its unreadable, almost undetectable thread of black comedy.

It is an intriguing and empathic study, which could help all of us to understand.

To begin, there are a couple of genuinely repulsive horror moments, but things get silly very quickly.

The keynotes are anger, confusion and despair, and to some degree the film could have been opaque or contrived but its malaise ultimately finds expression in a truly horrible #MeToo moment, one of the most brutally plausible and unsettling I have seen in any film recently.

This is engaging, intelligent film-making and Navas’s performers relax into the space that she creates for them.

It’s watchable, but don’t expect your mind to be blown – more gently prodded.

The directing is serviceable, but some rote imagery – especially the ominous crow of death – also likes to hit us over the head. Reddick should have concentrated on giving the characters that kind of treatment.

The deft camerawork showcases a dynamic Ethiopia – from tiny villages to the gritty underbelly of bustling Addis Ababa – and, let’s face it, everyone loves a good training montage.