For a movie that looks this sleek, there’s a lot of scrappiness around the fringes. Paul Walter Hauser is fun as subterranean mastermind Mole Man, but gets barely a toehold on the plot. Half of whatever Natasha Lyonne’s character, a teacher with a thing for The Thing, was due to be doing is surely on the cutting room floor. The Four’s droid helper H.E.R.B.I.E. doesn’t leave a massive impression.

Like Talk To Her, it doesn’t completely satisfy when it comes time to resolve its intrigue. But, as with their debut, the Philippou brothers show a real skill for creating believable teen characters, Barratt and Wong create a tender, affecting chemistry that make the chills all the more affecting.

For Gunn, who has injected superhero movies with a winningly irreverence since his R-rated indie Super, ridding the DCEU of its bombast and self-seriousness is a step in right direction. Whether, like his alien hero, he can arrest the march of time and reinvigorate this tired genre is another matter.

Rebirth knows it needs to make its scaly stars frightening and surprising again and manages it in Spielbergian style.

M3GAN 2.0 continues to offer up a goofy brand of cautionary tale, too: against AI, tech dependence, and Silicon Valley types who want to stick a chip in their brains. You can take that seriously as you want to, just don’t be surprised to find yourself watching it again on your cellphone one day.

Mercifully, it lacks the pretentious moralising of his later work, and is far more professionally put together. But for all its relative dramatic coherence, it's still hard to see how it was ever taken as a masterpiece.

There’s so much in Grenfell: Uncovered about the state of modern Britain that Sadiq does brilliantly not to get sidetracked.

Splicing in montage footage of marching soldiers, shots from Lawrence Olivier’s Henry V, and even archers in action, and layering in discordant sound design, Boyle reinvents the zombie movie as a bloody pop-art installation.

It’s hard to draw too much old-school romance from this world of sponsorship, celebrity and sports washing, but F1 manages it on the back of Pitt’s earthy charm. Watch it rev into the canon of great sports movies. Motion sickness tablets recommended.

Song has, undeniably, done a beautiful job composing this visually absorbing film.

Happily, it emerges at last with enough inventive action to stand alongside its murderous predecessors, and makes Ana de Armas into a likeable assassin hero – a phrase that makes more sense in her killer-filled world than our own.

Unfolding at the American filmmaker’s measured tempo, it’s more droll than LOL-funny, though there are some big laughs along the way.

It takes a steady hand to pull off a horror film as outlandish as Dangerous Animals – a movie, lest we forget, that is literally about dangerous animals – but Byrne has pulled off something slick and confident here. It’ll keep horror fans out of the water for years.

In Saeed Roustayi’s Woman and Child, a carefully crafted and endlessly gripping drama that follows a Tehran family’s slow disintegration, it’s the supposedly joyous occasion of a marriage proposal that set the wheels of fate in motion.

South African director Oliver Hermanus finds plenty of deep feeling and sincerity here but his beautiful-looking, measured period piece gets stifled by its own languors – especially in a first half that needs a slug or two of moonshine to inject some life into it.

The director is clearly having a whale of a time taking the piss out of the corruption, cruelty and bribery rife in his country.

The Secret Agent is vicious and vivid in its sense of place and danger. But it also has a streak of weirdness and offers a very human take on the political-crime thriller genre.

In live-action mode, Lilo & Stitch has some of the charm of an ’80s Amblin movie, like E.T. or Gremlins.

As a storyteller, writer-director Hafsia Herzi is not coy, but she’s careful, allowing intimacy to emerge with the same tentativeness as it does for Fatima.

It’s as interesting for what it doesn’t show as for what it does.

Much like the case itself, a crime drama performed and crafted with this level of care and social resonance is well worth investigating.

Much will depend on how far you’re willing to go with the wild swings the film takes in its second half, but if you’re down for a trip, Sirat is The Wages of Fear meets The Vanishing on shrooms; startlingly original, jarringly hilarious and deeply disturbing.

Harris Dickinson steps behind the camera for a bruising, brilliantly strange debut that channels veteran auteurs like Jonathan Glazer and Andrea Arnold, while carving out a distinctive voice all its own.

Watching this Anderson extravaganza is like assembling a meticulously detailed puzzle: at times frustrating, but deeply rewarding when the full picture comes together.

For devoted filmlovers, Nouvelle Vague is a must-see – a joyful homage to the art of cinema that’ll have you queuing at your local repertory cinema as soon as the credits roll.

It’s a deeply raw and honest film. It’s bleak, but it also has a musical, black-comic, big-hearted spirit that pulls you through the despair.

This good-natured hagiography isn’t anywhere near free of pomposity, but even Bono seems to know when it’s best just to keep quiet and move on.

It’s Poots who carries the story, giving heart and soul to a performance of a woman who cannot help but careen her way through life like a bull in a china shop.