I Wanna Dance with Somebody plays by the rules of the TV movie to efficient, if scarcely groundbreaking, effect. It will change no minds about Whitney Houston.

An engaging chronicle, nonetheless.

It feels almost like a pitch to direct Bond and – in common with the recent 007 spoof scenes in Minions – it’s a better Bond film than (at least) the last two entries from that franchise, save for a couple of things.

For a film that depicts the discovery of the Holocaust, Lee is curiously flat and uninvolving. Miller and the images she captured deserve better.

The Pale Blue Eye is beautifully shot and absurdly plotted.

It accordingly falls to Ford to save the day. The octogenarian’s gruff charm endures against the brain-numbing CG tableaux.

Elio is a half-formed thing. The basic story beats suggest that subplots and jokes have gone missing. Even the buddy comedy between Elio and Glordon is curiously marginalised. The candy-coloured character designs will please younger viewers, but the all-ages pleasures of peak Pixar are in short supply.

Thankfully, Tron: Ares is less ponderous than Tron: Legacy, and the music is turned up to 11 in the hope you won’t notice all the shortcomings.

It’ll do well enough for summer-break popcorn-lovers, but as DreamWorks Animations go, it’s no How to Train Your Dragon.

Goodbye June is messy, humanistic and shamelessly sentimental.

The film attempts both an in-depth portrait of the late author and a scattershot meditation on the persistence of his ideas.

Screamboat is no classic, but it knows its audience.

A winning cast, mostly drawn from the ranks of Gen Z, ensures that Rosaline’s spurned, sulky plans to steal Romeo back from Juliet can be fun.

A film that turns the savagery of apartheid into a crisis of conscience for one relatively privileged white boy. Worse yet, it suggests that his crisis is a matter of urgent concern for countless South African blacks. [9 Oct 1992, p.11]

The remake succeeds in recapturing the suspense of key sequences such as the tense bathroom scene and the restaurant assassination, but most of the time it's a pedestrian piece of work unimaginatively directed by John Badham who lacks Luc Besson's skill for distracting us from disbelief. [2 July 1993, p.11]

Neither as fun as the early seasons of Cobra Kai nor as effective as the 2010 reboot, Karate Kid: Legends relies heavily on franchise favourites while bringing nothing new to the party.

All sincerely intended. All a bit rickety. Still, The Bride! does just about get by on suave style and committed performances.

The real issue is the distracting and disturbing “digital fur technology”. Every time Cats settles into an admittedly avant-garde shape, an ear twitches or a tail flicks and you’re back thinking about how ghastly the actual cats look.

Nobody (surely) was expecting The Godfather from the director of Atomic Blonde and the writer of Hotel Artemis. Nobody (equally) could have anticipated such a dreary mess.

North shows all the signs of being one of those movies that get "straightened out" in post production, with any life they have being squeezed out in the process. [29 Jul 1994, p.9]

Named for a Buddhist concept referencing the transition between birth and death, Bardo may transport the viewer to a dream space but not perhaps the one Iñárritu intended. Zzzzz.

The movie loses its way, piling on pointless narrative twists and relying more and more on very contrived coincidence. [07 Apr 1995, p.13]

This messy romantic phantasmagoria is a hinterland for no one: a musical without musical numbers, a romcom without comedy. Sincerity saves it from collapse.

The narrative parallels with Gladiator – taking in soft-edged shadows of the earlier characters – only press home the current project’s second-hand status. It’s no Gladiator. It’s no Asterix the Gladiator.

The costuming and production design are so crisp one can often overlook the vacuum within the packaging.

Based on an acclaimed documentary, the film looks to be asking us to fill in the many gaps in its Swiss-cheese narrative.

What we really needed was something in the vein of the second Scream film – a sequel that, rather than just deconstructing classic Disney tropes, satirised emerging conventions of the streaming sequel.

Marianne may learn to “pass” for a cleaner – kind of – but she can never experience the precariousness faced by her subjects. Her idea that these people are entirely invisible is bogus from the get-go. The script wrestles with these problems but it simply cannot overcome them.