If we’re reaching for something, anything nice to say here – and we absolutely are – Theron’s black trouser suit and trench coat is a strong look.

Grandage’s feature debut, the literary biopic Genius, was an all-star dud; this is colourless, miscast, adrift. He hasn’t yet found cinematic lift-off: the camera gazes endlessly into the soupy sea off Peacehaven, as if it were a Magic Eye picture hiding the drama of a Turner painting inside. Amid the drab ruin of these lives in the 1990s, and their equally cheerless salad days, rare sparks of life succumb to a great deal of mopey regret.

Lindholm’s stealthy restraint fits the material like a glove, and both get under your skin.

The middle stretch is genuinely scary, though, thanks to the film’s clammy aptitude for trapping us alone in the dark. Somewhere in here, there’s a thesis brewing about how predators ply their trade and cover their tracks while purporting to be the good guys. The product of their actions is ghastly, and it’s lumbering at us fast.

Berger’s evocation of war and its horrors ultimately connects not at an intellectual level but where it truly matters: in the gut.

It’s the “rom” that’s the killing shortfall. But I must admit, Bros put me in such a sour mood that its “com” got sabotaged into the bargain. It’s distinctly smug about pitching itself as a landmark, while being really more of a setback, and a pretty low bar for the next one to surmount.

Much of the film’s success comes down to Plaza, who has left that deadpan sphinxlike mode of hers some way back in the rear-view mirror. Grit replaces irony, and it’s fascinating to watch her think her way through every predicament here, deftly and in detail, weighing the percentages.

Against serene and haunting backdrops, the animation itself has a raucous energy that’s constantly thrilling, and leans into the children’s vulnerability as well as their high spirits.

This quietly courageous debut feature from Anastasia Tsang, which had its world premiere at this year’s Tokyo Film Festival, is an elegy for that lost Hong Kong – and suggests that in certain corners of the city, its old spirit still fizzes and glows.

The film has whizz, and bang, and you’ll forget it by tomorrow.

Still, there is no denying that the film clicks up a gear when he’s on screen. He says nothing and his motives have not moved beyond “kill, kill, kill”. But he is one of horror’s true stars and, if Halloween Ends often sluggish and silly, Myers powers through the mediocrity one brutal swipe at a time.

The idea is that Chickie’s experiences will challenge his simplistic view of the conflict, but Farrelly frames his jaunt as a glorified gap year, with various atrocities repackaged as opportunities for personal growth. Napalm

Gina Prince-Bythewood’s epic drama springs off the success of Black Panther and roars into action: it’s every bit as propulsive, as detailed, as richly imagined. It’s fast, and it’s loose, and it totally works.

It’s a thoroughly pleasant if flimsy film – a sleeper hit already in America’s sleepy arthouses – with a distinct perfume of nostalgia wafted towards us, say by the sight of Gitanes lit up on cross-channel flights.

Amsterdam might encompass 15 years of history, straddle two continents and throw in innumerable subplots, but it becomes increasingly hard to shake the sense that you’re watching a very thin idea twiddling its thumbs.

Dunham’s film has the kind of winning light touch that’s impossible to fluke.

Schrader can do this stuff in his sleep, and in Master Gardener you sometimes wonder if he might be.

Heidi Thomas’s screenplay, cannily expanding a little on Bennett’s glisteningly witty original script, shows its hand with tactical finesse.

When it’s in-flight entertainment this winter, no one will necessarily moan, but it plays like a soothing feature-length trailer for your first cocktail on the beach.

Causeway is an excellent, moving, determinedly low-key slice of US indie cinema.

The film has a sheepish, hair-shirt quality, as if it wants credit for intersectional largesse. What it does do quite well is challenge the temptations of unquestioning nostalgia.

The film contains deeply felt work by Hugh Jackman and Vanessa Kirby, but it’s an otherwise drab, simplistic, mechanical thing that wears its workings right on the surface.

Mark Chappell’s script has a refreshingly high laugh-rate as these things go, with a seam of pure English silliness that sets it well apart from Knives Out, without gunning for anything like that league of plot ingenuity. It’s closer, really, to doing for Christie what Scream did for the slasher flick – goosing the formula with winks and tickles.

Blonde is severe and serious-minded almost to a fault: you rather wonder how many viewers at home will soldier on to the end when it lands on Netflix after a limited theatrical release. In the cinema, though, it swallows you up like an uneasy dream, at once all too familiar and pricklingly unreal.

Robert Zemeckis, who should be well above this, imprints a bit of personality on this nightmare exactly twice.

The Eternal Daughter is a minor film at least partly by design, but it leaves an ethereal trail of sadness and creepiness.

Things keep barrelling along thanks to both Pugh and the plot’s punchy critique of certain recent trends in the internet’s more testosterone-raddled dark corners. With a smudgy red-lipsticked grin, Don’t Worry Darling drags them out into the blazing desert light.

This is an often shoulder-shudderingly funny film, whose comic dialogue is dazzlingly designed and performed. But McDonagh leaves fate itself with the last, black, bone-rattling laugh.