Make it your destiny to see this blood-soaked odyssey along the edge of the world as soon as possible.

If you’re on the hunt for a diverting slice of prestige espionage hokum that comes with a side helping of real history, Operation Mincemeat is a satisfying night at the pictures.

Even at its weakest, the Potterverse – with its magic, mayhem, and world class ability to create imaginary worlds of epic sweep and a million tiny details – retains its transportive power. Go see this one at the cinema where the big screen and sound will wrap you in a warm, magical duvet of delight.

Compelling characters are the lifeblood of a good superhero story, so it’s tragic that a film about two warring vampires in the Marvel universe is utterly bereft of them.

There’s plenty of on-screen talent involved here, but they’re all far better than the material. Hopefully, the all-but-certain Sonic 3 will level-up the script.

For memorable gags and fun but wildly implausible plot lines, it’s a ride.

At an overlong two-hours-plus, Ambulance is Bay at his most masturbatory.

The Bad Guys will work better for kids than adults: the comedy is broad, with farting not just a major source of laughs but an entire plot device, and the characters aren’t quite as lovable as the movie thinks they are, despite a winning voice cast that also boasts Marc Maron, Zazie Beetz and Awkwafina.

It has a bit of the mood of The Full Monty or Brassed Off about it, and if it’s not as good as either of those it has a gentle upbeat cheeriness that’s hard to resist.

Haunting and narratively spare, Europa is a plea for humanity wrapped inside a gripping survival story.

You can tell Ryoo loves Hong Kong action cinema. His camerawork is nimble and elastic, and his starchy diplomats are unexpectedly great at martial arts. But the character scenes are well-handled too, and there’s a smart critique here on a divided country that can’t even be truly unified in a shared crisis.

Austrian filmmaker Sebastian Meise manages to find romance amidst the dirty needles and dirty toilets, delivering as many memorable tender images as he does unpleasant ones.

One of These Days doesn’t quite nail the provoking social commentary you sense that it sets out to provide. Nevertheless, there are enough intriguing ideas at work – from the crafty camera work to the unexpected twist near the end – to make it inventive as well as hard-hitting.

Hive is never quite a feelgood film – the deep trauma that underpins it militates against any jaunty Calendar Girls vibes – but there is a tangible sense of joy as Fahrije begins to lead her fellow, long-suffering widows to a place of healing and the promise of better times ahead. And the comeuppance one or two of the menfolk get is definitely mood-enhancing.

Helter-skelter, a bit mad and full of heart, it bounces along with the out-of-control energy of the early adolescence its depicts. When it pauses, it also offers a seriously touching snapshot of mums and their daughters, as well as a smart critique of why the burden of family expectations and the inevitability of teenage boundary-pushing usually results in carnage.

Red Rocket is an engrossing state-of-the-nation comedy designed to make us feel so dirty that no amount of washing will remove the sweat from our nether parts.

La Mif (slang for ‘the fam’) is sensitively written and superbly acted. There are non-professional actors here who would put a few of their formally-trained counterparts to shame.

And Pattinson? He’s solid enough, but the role seems to neutralise his greatest strengths, stifling his edgy, eccentric charisma under a morose, dutiful shell. He’s just another ever-searching crusader in a shadowy world. Hopefully next time he’ll be able to find the fun.

One token racism subplot aside, it juggles big ideas of social justice with more intimate moments of family life beautifully.

The director is a huge fan of This is Spinal Tap and although Flux Gourmet isn’t up to the formidable standards of that masterpiece, it boasts one or two Stonehenge moments of its own.

There are some hilarious new songs (look out for ‘Gotham City Guys’) and the jokes are more meta than ever, with Arnett’s Batman still invariably the funniest figure in the room. But the comedy feels like overcompensation for a story that gets more convoluted as it shifts back and forth between the human and Lego worlds.

Featuring some brilliant camerawork by Liu and the late Dylan Sakiyama, Minding the Gap is an impressive feature that provides an intimate and grounded examination of racism, violence, manhood and economic anxiety in the US. It will warm your heart but possibly break it a little too.

System Crasher may veer towards being over-sympathetic in its approach to its violently problematic protagonist – Benni is a wrecking ball at times – but it delivers a powerful exposé of the limitations of the foster system. And with its impressive young star to the fore, it is heartbreakingly intimate.

Stillwater’s leap is admirable – it’s just a shame about the landing.

There still hasn’t been a truly great film based directly on a video game, and the characterisations here are more likely to annoy than delight the hardcore fans, but the jetsetting and sunshine here is a welcome break from more serious action movies, and Holland will just about hold the interest.

It’s an old-fashioned film that always wears its heart on its sleeve – even when its main character keeps his hidden.

There’s an innately camp, silly quality to these star-crammed murder-mysteries. Embracing that would make Branagh’s adaptations more of a scream.

That’s a lot of years to wrangle into one biography – even before you take in the rags-to-riches, zero-to-hero-to-popular-villain arc of his life – but this snappy and searching doc makes a very solid fist of it.