This muted procedural promises more than it can deliver.

It takes real talent to make something so studied feel this soufflé-light, especially in the Hatchers’ charming naturalism. Trouble is, Bujalski is too successful – in the end, everything is left hanging.

There are thrills and feels but this reimagination of the delightful animation doesn’t take flight often enough.

The doc-flavoured approach lends both urgency and tedium, while the blend of miniatures, stop-motion and CGI references the various looks of his 63-year history.

Just as daft as it sounds but not half as bad, this Alpine splatter-fest works surprisingly well thanks to the old-school FX, the creative death scenes, and a vein of self-awareness that never gets too smug.

Too long and with too many characters to get through, Mother's Day holds effective sequences, ramming home its (recycled) message: the animal lurks in us all.

The script is straightforward enough, but Lights Out director David F. Sandberg’s careful visuals emphasise shivery mood for something worthy of the Conjuring label.

A spirited and likeable Christmas musical that boasts terrific songs and looks the part, Jingle Jangle covers a threadbare story with just enough tinsel.

A patchy biopic that only thrills when Gordon-Levitt finally steps out onto the wire. Still, for all the 3D showboating, it’s a touching tribute to the Twin Towers.

What Fantastic Beasts lacks in wonderment it almost makes up for in scares and subtext.

This is 007 in mid-story crisis; a festival of blaring action set-pieces propping up a scrappy script and undercooked characters.

Neatly juxtaposes the beauty of the landscape with the enmities it engenders.

Overlong, but Momoa’s charisma, plus first-class fishy FX, keep it afloat.

It’s a big old mess of a movie, in other words: flawed and (sometimes) fun.

Though stronger in its more straightforward first half than in its experimental and hallucinatory second, 28 Years… still provides enough terror, splatter and suspense to satisfy.

Tasked with brokering a peace between event-sized thrills, gaming lore and high fantasy, Jones embraces Warcraft’s world with laudable commitment: but when it comes to charging it with life, sheer bulk gets the better of him.

The sci-fi settings – dystopian grit-scape, rainbow-coloured cosmos – are dazzlers; the satire is playful not snarky; and as you’d expect, several unexpected cameos. It doesn’t sweat too hard to appease both kids and adults – the latter’s pain much felt in a scene you might describe as product mis-placement.

Grindhouse with giggles, this potboiler parody offers just enough to avoid being a curio – not least Ferrell at his straight-faced best. Arriba!

The final act loses its way, but in the main West wraps his slasher trilogy in satisfying style, putting a blood-soaked, Hollywood-branded bow on his eras-spanning saga.

Murphy consolidates his comeback with an engaging performance in an often thrilling thriller. Metro mixes high-quality stunts and slick dialogue with enough menace to keep the audience nibbling its cuticles until the closing credits. Welcome back, Edward.

It’s a sensitive, sweet, frequently heartbreaking trip through deeply personal history, but there’s no getting round the fact that Gray had what most might consider a fairly typical childhood.

While bemoaning how tough life has become in the made-up Palmera City, Jaime’s sister Milagro (Belissa Escobedo) remarks that "progress is not for us!" In a genre increasingly subsumed by numbing bombast, Blue Beetle’s abundance of personality might just be progress enough.

Godzilla: King Of The Monsters improves on its predecessor in terms of the kaiju carnage, but still can’t quite make you care about the humans underfoot.

A bright, breezy Irish monster mash boasting gorgeous cinematography, appealing performances and great SFX, even if it’s a little slight for can’t-miss status.

Handsome, risk-taking Netflix remake sacrifices suspense for sweeping sadness.

The sticking point for some will be the bone-crunching violence, of which there’s A LOT. But if you can stomach that, then this ticks that dumb-fun summer-movie box nicely.

It’s let down by some erratic, repetitive plotting.

Despite the well-honed wizarding credentials of Yates and co-scripters Steve Kloves and Rowling, the series still can’t seem to settle on a hero. Let’s hope that the prospective next two helpings can unravel whether it’s Newt’s beast-fuelled journey or Dumbledore’s quest with which we’re hitching a ride.