Despite leaving its love affair on the launch pad, this sassy NASA romcom fulfils its mission to entertain.

The horrors, like Cage himself, are largely kept off-screen for much of the movie’s duration. Yet with its eerie soundscape and sepulchral visuals, Longlegs nevertheless succeeds as a deeply disconcerting experience, one that burrows into the brain as insidiously as the innocuous means its villain employs to disseminate his evil.

Series veteran Chris Renaud (who co-directs with Despicable Me lead animator Patrick Delage) ensures that there’s nostalgic value for older generations, notably in the surprisingly heartfelt, Tears for Fears-soundtracked finale. The addition of the cunning Gru Jr proves a deft move, too; the father/son, bonding/tormenting scenes bring a fresh (and at times touching) dynamic to proceedings.

Much more fun than Coming 2 America. Don’t be surprised to see a fifth film greenlit.

While it shares plenty of DNA with the first two films, it has its own distinct character. It's a compelling and moving watch.

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.

A solid performance by Quasem and an impressively gruesome early leg-munch aren’t enough to earn Something in the Water anything close to a recommendation. Avoid like a fin in a bay.

The rocky relationship between Lee and her father feels convincing enough, and it's great to see a queer storyline take shape as Lee develops feelings for her father's co-star (Chloe Bailey, one of several strong supporting actors). But the horror story leans too heavily into what has now become cliché, with Crowe's outbursts seeming increasingly ridiculous rather than terrifying.

Cage disappointingly disappears for a good chunk of the runtime, but Martell and Jenkins hold the fort until he reemerges in suitably dramatic fashion during Arcadian’s climax. Sadly little else in the finale works so well, with ropey special effects and ludicrous set pieces undercutting the intrigue created at the start.

Alongside Turning Red and Orion and the Dark, Inside Out 2 offers a timely reflection of the anxiety epidemic among kids. If it doesn’t have the sparkling originality of its predecessor, it has its big heart, keen to show us how complex and gloriously messy teens can be.

To be fair, Blood and Honey 2 is actually a notch above its predecessor, if only because the production values are (relatively) higher. But despite a watchable turn from Chambers, this is largely Neanderthal filmmaking, even with hospital janitor Simon Callow offering up a Scottish accent and a lot of pointless exposition.

Entwining Irish folklore, dead-parent issues, eco-anxiety, and reality-show commentary, The Watched is an acceptable mid-tier horror. It'll be far more interesting to see what Shyamalan does next.

While it's stronger on gunplay and horseplay than plot, this is a solid entry for BB fans.

It all adds up to a genuinely affecting, Seabiscuit-style underdog tale, which will get you cheering dogged Trudy past 10ft waves, a shoal of stinging jellyfish, and a plague of obstructive men. That salty liquid on your face isn’t sea water – it’s tears.

As time passes, a real sadness creeps in as we suspect that we might be witnessing the extinction of a species, though an inspired sight gag is never far away. This is a film that needs to be seen to be believed.

There are some stunning moments, such as the eerily green-screened opener, and an unsettling underwater sequence up there with Dario Argento’s Inferno. But the 145-minute runtime feels increasingly indulgent, and Bonello borrows heavily from Kubrick, Lynch and Eternal Sunshine of the Spotless Mind.

Like E.T. gone wrong, director Kiah Roache-Turner’s underdeveloped but briskly suspenseful, suggestive arachno-shocker sees a kid with family issues find solace in alien company. Only this spidery E.T. will gobble you up before it phones home…

Lopez takes admirable care of the story’s human elements, seizing opportunities to find emotion amid the weapons-grade pyrotechnics of the chaotic action sequences. But the effective (if minimal) world-building really just masks a thin plot, hammy characters, and the kind of questionable logic leaps you so often find in this sort of big, silly space movie.

As ever, Cronenberg leaves you with much to chew on, but dramatically The Shrouds feels rather inert, as if it can’t get out of second gear

Baker controls the narrative with real aplomb, crafting a time-bomb mix of physical comedy and high drama. Better still, the final third alights on real pathos.

This is an assured, blackly funny, and outrageous horror that will leave you roaring with approval.

With stellar songs by French singer Camille, a highly original score by Clément Ducol, and striking choreography by Damien Jalet, Emilia Pérez shifts effortlessly from musical extravagances to a gritty underworld milieu.

You might care to see this as an allegory about power, sex and control, but it doesn’t feel like it’s saying anything particularly profound.

Delivering her first narrative feature since 2016’s American Honey, Arnold initially seems to be retreading familiar social-realist ground, delving into poverty-stricken working-class lives. But in its second half Bird crosses into fable-like territory, with impressive results.

From overblown sci-fi concepts to incest and erections, Megalopolis is a comedy of errors in a more literal sense than may have been intended, despite its many Shakespeare references.

Marking Harlin’s trumpeted return to a genre in which he established himself as something of a journeyman (A Nightmare on Elm Street 4: The Dream Master, Exorcist: The Beginning), The Strangers: Chapter 1 makes decent use of its contained setting – the house itself, to wheel out the cliché, is its own character – but can’t cut through the sense of fatigue.

It’s entertaining to a point. ... But whether the filmmakers truly get under Trump’s skin is debatable. Do we learn much new about him? Perhaps not, but it’s an absorbing journey all the same.

Long before the film reaches its action-packed, train-based climax, however, adults will be questioning if its three writers have so much as seen an actual Garfield comic strip, given how removed their work feels from its activity-averse inspiration.