Throughout, there’s a tendency to descend into farce, which yields laughs, but ultimately hampers these Letters’ potential to say something more profound.

While the visuals are refreshingly clean and grounded for a modern superhero film, the story is bogged down by exposition and egregious product placement.

Capturing Marley’s essence on screen proves an impossible task in a biopic that veers towards hagiography.

A neat mash-up of high-school comedy and horror tropes. Pity it flounders in the final third, though.

Triumph and tragedy form an inseparable tag team in writer/director Sean Durkin’s (Martha Marcy May Marlene) emotional chronicle of the Von Erich clan, a close-knit family of sibling wrestlers whose rise to prominence in 1980s Texas was accompanied by a remorseless, almost Shakespearean succession of setbacks.

First too slow, then too silly, Vaughn’s well-cast but wayward romp fires off half-baked ideas without the focus needed to make them stick.

Despite the slightly uneven pacing, Wright’s sturdy performance keeps things on an even keel. The result is a fiendishly sharp poke at questionable notions of Black representation in the modern world.

This is a clever, all-ages charmer.

Writer/director duo Sam and Andy Zuchero take an admirably big swing with their feature debut Love Me, but it never engages emotionally in the way this kind of material needs to.

While the film occasionally pushes you to feel as deeply as Benji, something it can’t quite pull off, there is a profundity to David and Benji’s pilgrimage that leaves an unmistakable impression.

The film treads a fine line between saccharine and crowd-pleasing, though there’s no doubt a few moments will elicit tears.

A brief cameo from producer Benedict Cumberbatch provides some additional mid-film star wattage. Yet who needs it when you have Comer, a force of nature to rival any city-swamping deluge?

A fun if by-the-numbers heist movie that brings the laughs, but doesn't stand out from the crowd.

A little more than a remake yet less than a makeover, Tina Fey’s watchable, well-cast revisit needed more daring to be wholly worthwhile.

Any attempt at Chariots of Fire-style emotional intensity is tanked, however, by Callum Turner’s unhelpfully laconic, low-key performance.

A damp-squib horror with zero thrills. Russell and Condon deserve much better.

The best bits of Kingdom come when Jules Verne-esque technology like Manta’s Octobots collides with Atlantis’ psychedelic bioluminescence, a colourful contrast that gets to the heart of this watery franchise’s trippy appeal.

Snyder’s passion project risks becoming subsumed by its own self-importance, but delivers bombastic mayhem and grandiose visuals by the bucket-load.

Adapting from Rumaan Alam’s bestseller, writer/director Esmail (creator of TV’s tech-conspiracy drama Mr Robot) paints a scarily plausible picture of how fast chaos and conflict erupt when our computer-reliant systems suddenly start to fail. But his endlessly bickering characters ultimately stop us caring whether their world ends with a bang or with a whimper.

King’s flair for transposing peak British TV comedy’s character to film is also apparent, thanks to a fine support haul of Peep Show and Ghosts alumni.

Ravishingly pretty but low-powered, this cute and earnest fairy tale has a whole lot of homage, but not enough heart.

Blending OTT gore, devilish humor and on-the-nose satire, this is sick, twisted and hugely enjoyable.

Epic in scope, intimate in execution, Napoleon is a thrilling, surprisingly funny account of the infamous French Emperor’s rise and fall.

Davis, Dinklage, Zegler, and the Games thrill, but Snow doesn’t quite summon the substance needed to fulfil this long-haul prequel’s ambitions.

For a while, the film seems unsure which direction to take. But a darker third act sees Paul’s benign personality begin to warp in people’s dreams, impacting his entire life. Meanwhile, echoing the work of Charlie Kaufman (Being John Malkovich in particular), Dream Scenario morphs into a wickedly funny satire on the pernicious nature of social media.

Marvel’s woes won’t be solved by a disjointed mini-Avengers that doesn't make a great deal of sense. But the cats are Flerken great.

Refusing to become a cautionary tale, How to Have Sex explores the pitfalls as well as the pleasures of teen-holiday hook-ups; it also brings an admirably fresh, female POV to the subject of sexual consent.

A ploddingly predictable, gore-lite yawner.