The film’s sincere core is threatened a little by its flashier directorial effects.

For Lynch himself, “the big news was that I’d finally completely killed Twin Peaks with this picture”. But in fact, this exceptional, widely misunderstood film restores it to writhing, screaming life...Far from cheating viewers, this fresh perspective offered them a new way to decode the entire Twin Peaks mythos, with Sheryl Lee’s extraordinary, soul-tearing performance shaking the franchise out of its cherry-pie-munching reverie...Time has passed, and its brilliance is gradually coming into focus, just as Lynch hoped it would.

Angel Has Fallen is almost worth seeing.

Keeps playing its two winning cards over and over again, and is smart enough to realise they are more than enough. The first is the giant animal carnage itself, which crackles with fun ideas and flourishes throughout. The second is the comic chemistry of a superbly picked cast who bring everyone in on the joke.

Even in the realm of scrappy British underdog comedy, there is a clear line between endearingly ramshackle and downright slipshod. Fisherman’s Friends blithely crosses it, never to return, from the moment it chugs out of port.

It’s a hysterical screwball fantasia that openly steals from Lubitsch, Hawks, Capra and Sturges and wants to be caught with its fingers in the till. The result is a highly-sexed Jenga-pile of silliness, to which Bogdanovich can’t resist adding block after teetering block.

Cherry might represent a drastic shift in scale, tone and subject matter for its directors and leading man alike, but there’s a blockbuster-sized gap where its point should be.

Postman Pat: the Movie doesn’t get a stamp of approval.

The ugly and incomprehensible big finish we get appears to have been shot by the Hunchback of Notre Dame and edited by a monkey wearing oven gloves, and if there’s a single clear shot of the Dinozords in action in there, I must have missed it.

MacFarlane’s making no effort to push the envelope, which is something of a relief, but nor is he winning anyone around to his increasingly desperate stylings as a nerd-turned-bully.

This cast of national institutions make fools of themselves with a lack of vanity that’s theoretically fun, but there’s playing to the gallery, and then there’s clambering up there to wiggle your bits at them.

It’s more often than not something of a slog, its insights shrug-worthy and its tone jarring in its shifts from candy-coloured whimsy to weepy dramatics.

This crazily overlong and tiresome follow-up...doesn’t seem to have the first idea what to do with itself – not least when it comes to its much-vaunted all-star cast, the majority of whom are barely even in it.

Its fusion of maudlin social commentary and banana-slipping pratfalls is graceless in the extreme: picture an episode of Chucklevision directed by Ken Loach.

Being funny with Dark Age clichés shouldn’t be a challenge, even if you have to trudge off-script and simply cover yourself in mud. The cast of Seize Them!, a plucky shoestring Britcom about a peasant revolution, unfortunately face an uphill battle.

Robbie lights up her scenes with the much more special effect of raw personality.

Watching del Toro’s film felt like playing with toys as big as skyscrapers, but everything about this successor feels trinket-sized.

Some of the action sequences are OK, the cast decent – but this convoluted action-adventure's poor attention to detail is its undoing.

Grimsby doesn’t ever wound quite as devastatingly as Borat or Brüno, but it’s a vital, lavish, venomously profane two fingers up at Benefits Street pity porn and the social division it fosters. I laughed, winced, gagged, then laughed even more.

Unusually for any film top-billed by Adam Sandler these days, there are jokes to please young and old.

It’s hard to extend much credit for the subject matter when it’s exploited for a “wild ride” that isn’t even wild, hawking a true story that isn’t even true.

From top to bottom, it’s Brydon’s film, and his performance matches the modesty of the surroundings: rarely pushing too hard, he finds just the right groove as a browbeaten Everyman lacking spring in his step (or dash in his breaststroke).

So no, The King’s Man doesn’t take itself especially seriously – until it suddenly, jarringly does.

Those in the market for domestic drama, sexual tension and humorous mishaps against a backdrop of sawing and sweeping would be advised to try any home renovation show over this.

This pensive science-fiction three-hander, adapted by the Lion and Mary Magdalene director and Iain Reid from the latter’s 2018 novel, quickly settles into its solemn, elliptical groove – and then sticks to it so doggedly, it becomes a tonal rut from which the film increasingly struggles to escape.

It's painfully slow at times, but the performances are decent, especially Hanks who teases the talent yet to properly shine. [08 Feb 2022, p.27]

The sheer half-heartedness of the whole exercise, though, may still catch you unawares.

After a while, it’s as if Thomas’s self-loathing begins to rub off on the script, which keeps undercutting should-be-resonant moments with smirking references to other films.