For all the bustle, flow and noise, there is little here we haven’t seen before.

For all the good work, however, the film fails to fully capture the madness of the response at home.

Forming a Greek chorus, the films are only as disjointed as their context: the obliteration of normal life and the stubborn, miraculous act of carrying on.

None of which is to suggest the film backs away from great gags that, as it was in 1984, continue deep into hilarious improvisation over the end credits.

Anne Robbins’s costumes are dazzling. The production designer Donal Woods makes a dull country-fair storyline look magical. But for all the nostalgic gibberish about passing the baton, this latest instalment stalls and curdles.

Allegories are unavoidable. The walk is American capitalism. The walk is life itself. It requires, however, no such connections to enjoy the best King adaptations in many years.

The film is never boring, but, once that delightful opening winds down, the action clunks where it should purr.

Trashy stories need plots and character development, too.

The Cut is ultimately too broad, cliched and preposterous to take the belt. Still, it was brave to go where it went.

In his impressive feature-length debut, the Irish documentarian Gar O’Rourke offers an immersive and mesmerising portrait of life in a still recognisably Soviet institution.

The extravagance of Fastvold’s techniques can sometimes get in the way of the characters. Strong supporting actors such as Lewis Pullman, Thomasin McKenzie and Christopher Abbott don’t quite succeed in making personalities heard over Blumberg’s bewitching arrangements. But, as cinema of melodic effect, The Testament of Ann Lee could hardly be bettered.

Sudan, Remember Us gives voice to the ordinary revolutionaries it portrays.

So Three Days is no great shakes, but it is rarely embarrassing either.

The strain of absent fathers, generational addiction and the cycle of poverty are carefully countered by resilience, love and the flicker of youthful possibility.

Like all the director’s films, it never allows a boring shot when an unusual one is possible. It has compelling momentum. It features charismatic actors. What a shame it is so tonally chaotic.

One good reason we all have to remain upright is this clever, original, warm cinematic balm.

Full of sound and fury, signifying something. If only we knew what that was.

That first (third) act functions effectively as a bewitching enigmatic short that gets away with its downbeat denouement. The audience can fill the gaps in whatever enigmatic way they see fit. Unfortunately the movie continues backwards into increasingly mawkish territory.

Despite valiant efforts from Stephen James and Michael Kelly – playing an ill-defined hoodlum and a procurer, respectively – Lynette’s low-income hinterland feels strained and inauthentic.

Horrible, silly, reprehensible, enormously good fun.

Materialists has received the odd puzzled review in its home territory, but it has the welcome oddness of a future classic.

The tragic cycle is composed of the same beats that defined such superior films as The Godfather and Animal Kingdom. But the tight focus on Lesia, and her realisation that the men she loves are also capable of monstrous things, reinvigorates the familiar form.

When the macabre does fully show itself, no concessions are made to taste or restraint. Though Weapons is lavishly shot and expensively acted – Amy Madigan is deliciously gamey in a role we won’t spoil – it ultimately settles into the rhythms of premium-brand pulp.

This old-school confection, smartly reuniting the original cast, delights in every silly scene.

What begins as a twisted riff on Hansel and Gretel spirals into a grisly meditation on trauma, punctuated by unsettling dark-web videos, gaslighting and a supernatural ritual that is never satisfactorily explained.

At its best, Dreams is intimate and contemplative, anchored by Overbye’s dreamy voiceover and performance. The second half loses some of that purpose.

It must be admitted that, against the odds, the team do a largely satisfactory job of reanimating the corpse. I’m not sure audiences will have quite as much fun watching the thing as the writers plainly had getting it on to the page. But they have certainly stuck to the brief with admirable diligence.

Lo-fi, disarmingly intense, and shot on textured 16mm by cinematographer Matheus Bastos, this impressive debut feature casts a twitchy, retro shadow over the less salubrious parts of New Jersey.