It’s not great Scott, but House Of Gucci still offers a fine excuse to vicariously experience the lifestyles of the rich and shameless.

Recasting studio formula in fresh, dazzling shapes and shades, Encanto is high-tier modern Disney.

Trumpeted by Netflix as a ‘new-school western’, The Harder They Fall in fact takes the staples of old-school westerns (bandits, bank jobs, train robberies, rowdy taverns, shootouts) but blends them all together in a manner that feels fresh and vibrant.

Tom Hanks, his dog and a robot charm in a post-apocalyptic road movie assembled with care and a light touch.

The leads deliver to order in this flimsy but playful frolic. A tankful of banter keeps the engine ticking nicely.

Lacking Snyder’s directorial dab hand, Army of Thieves is still a fun heist movie that makes an already likeable character even better.

Chloé Zhao gives the MCU just the kick in the pants it needs at this phase in its evolution.

Some entertaining bicker-banter, but you may feel like Venom craving human heads: undernourished and angsty for what could’ve been.

Warm, witty and full of wonder, Afterlife reanimates a franchise without spitting on its grave.

Even a disappointing villain can’t detract from a bold, satisfying climax to Daniel Craig’s time in the tux.

Violent, gripping, darkly funny and deeply human… everything, in other words, you’d expect from a Sopranos story.

Scott’s usual scope and scale meet unreliable narrators for a thought-provoking tale of systematic abuse. In a classy cast, Comer shines brightest.

Green delivers a smart, sturdy second chapter. Low consequence, perhaps, but still highly entertaining.

A lot of thrilling, dazzling, sometimes frightening fun.

An astounding spectacle, vast in scale and ambition. Prepare to have your breath snatched away.

Sharp social commentary and slick genre trappings make for thought-provoking entertainment, even if it never entirely hooks you.

Marvel’s Phase Four makes up for lost time with an origin story that richly entertains when it’s not pushing boundaries.

The Witcher: Nightmare of the Wolf is better than Netflix’s live-action series. While it’s by no means perfect, it hints at a smart evolution of a franchise that’s learned the right lessons from Geralt’s debut. It’s scarier, slightly more focused, and feels like a living, breathing world – monsters and all.

The film falters mostly with its disappointingly one-note female characters ... It’s a shame, for Reminiscence has some impressive ingredients floating around in its murky mix.

Warm and witty, Free Guy is expertly crafted disposable fun. And right now, that feels essential.

Task Force X has the X factor in James Gunn’s lively, funny, and very bloody improvement on a DC disappointment.

An action vehicle that, in trying to do it all, does a little too much; Johnson and Blunt keep it afloat.

An intriguing concept is executed frustratingly poorly. On the Shyamalan spectrum, it’s more The Happening than Unbreakable.

It’s no slam dunk for King James in a reprise that shows you can only spread Space Jam so far.

Another work that could really only come from Anderson’s relentless imagination: exquisite detail, eclectic storylines, superb cast.

Damon’s sturdy presence just about holds it together, while Breslin shows some impressive chops as the daughter who is too aware of his failings to see him as her saviour. By the end, though, the still waters McCarthy seeks to navigate don’t run deep so much as dry – a consequence, you suspect, of trying to cram too many genres into one star vehicle.

There’s a lack of genuine emotional heft, not helped by some clunky dialogue (lines like "we are literally living on borrowed time"). But what the film really misses, amid several ear-splitting, CG-heavy alien-attack set-pieces, is humour.

A popcorn-friendly horror romp, Fear Street is a colorful addition to Netflix’s catalogue.