Is Furiosa as magnificent as Fury Road? No, though not because it’s the first Mad Max movie without Max, whose absence barely registers. At 140 minutes minus credits, it’s a touch unwieldy, while its lament for the inevitability of war and the emptiness of revenge feels hollow given the giddy excitement it stirs from just these things. But what can’t be disputed is that Miller, the Mad genius, has done it again, once more refusing to simply repeat himself and instead choosing to kick up dust rather than gather it as he forges a new path through the Wasteland in often spectacular fashion.

Entertaining enough but inessential, Kingdom offers spectacle and thrills but lacks the ambition, smarts, and gravity of its immediate predecessors.

While it may prove a good gateway horror for some, more experienced genre fans will likely wish it was a bit nastier.

A deliciously silly, spoofy tale of the 60s battle for breakfast domination, filled with high-fructose fun.

Such is the in-built disposability of this sort of lightweight streaming fodder that those who watch it will probably have forgotten it inside of five minutes.

You’re left with the feeling that the film could have been made under another title, with no brand recognition, and be no less successful. Still, that’s Hollywood for you; at least the result emerges as a fine tribute to the unsung heroes of the movie business.

Snyder’s sci-fi epic stumbles towards the finish line with an underwhelming Part Two that feels more like a Part One-And-A-Half.

The deaths are exuberantly grisly and explosive, too, the sound mix relishing every gooey squelch. Yet as predictable twists and an underused final cameo arrive, all the blood isn’t enough to cover up the nagging shortfalls of final-act invention.

Given the short from whence it came ran a mere 12 minutes, there is a definite sense of material being extended beyond its elasticity. Yet it’s a decent vehicle for Ridley that, like last year’s The Marsh King’s Daughter, shows she doesn’t need a galaxy far, far away to demonstrate her star (Wars) power.

It might be too heady a brew for some, especially those whose appreciation of tennis is limited to strawberries and cream. On the acting front, though, it’s a virtual grand slam, Zendaya, Faist, and particularly O’Connor fine-tuning their characters’ 13-year romantic imbroglio into a lusty love match for the ages.

A competent if occasionally clunky biopic, enlivened by a superb Marisa Abela, who truly inhabits Winehouse and brings those songs to life.

This classy, female-centred Omen prequel is devilishly good at keeping its nun on the run.

In the exquisite gunfight-style tension of the real interview, Gillian Anderson’s uncannily accurate portrayal of Emily Maitlis (that cocked head and laser stare) comes into its own. Yet even she is outclassed by Sewell’s narcissistic but oddly charismatic Prince Andrew.

Frankly, if you’re buying a ticket purely for the behemoth battles then you’ll get your money’s worth: take your pick from a trippy rumpus that defies gravity, a Copacabana beach-off, some Planet of the Apes-esque monkey business, and a literal dust-up at the Egyptian pyramids.

A savage triumph.

The drifty, dream-punctuated second half might puzzle younger kids, though its universal themes and visual gags are perfectly all-ages appropriate. As is the film’s sweet, un-snarky tone, free from sly Futurama satire or Bojack Horseman raunch.

Taken as speculative fantasy, however, Civil War is never less than vividly, chillingly authentic.

Too many characters and callbacks plus a formulaic plot means Frozen Empire doesn’t touch the original movies, but it’s a likeable-enough brand extension.

Shot on digital video with a non-professional cast, Lovely Rita intelligently conveys the stifling nature of Rita's home and educational environments, and benefits from refusing to spell out character motivations. Newcomer Osika's subtle and often wordless central performance, meanwhile, seals the film's success.

In the end, Road House is a solid actioner, a frolic that Liman marshals competently. This is a fun Friday-night fight-fest, best enjoyed with a few bevvies – brash, loud, knockabout and liable to leave you with a cauliflower ear or two.

Dastmalchian shines as Delroy, mugging to the studio audience as things spiral out of control, all the while rubbing his hands that he has managed to create the TV event of the decade. And along the way, the filmmakers pull off some rather nasty surprises.

You’ll flinch, yes, but you’ll forget it just as quickly.

There are some decent-enough scares weaved in, including a powerful cold open and a pull-string set piece. But for a film about the power of imagination, it’s frustrating how little it trusts the audience to use its own. As such, there’s no real sense of dread or suspense.

Brown and the beast strike sparks as Fresnadillo’s initially lukewarm adventure gradually heats up.

It never feels particularly different to what you’ve seen before, and doesn’t push any boundaries visually or narratively in the way its DWA stablemate Puss in Boots: The Last Wish did.

More fever dream than film, Love Lies Bleeding shows that Glass is the real deal. Who knows what sights she has to show us next?

This is an impactful and at times profound film, with a hauntingly lovely turn from Sandler.

Ethan Coen strikes out on his own with a frivolous frolic that wears its slightness like a badge of honour.