Fizzy, funny, heightened – Hit Man is a damn good time at the movies that will leave you buzzing.

Meddle with sobriety and project it on a nightclub wall and maybe it works. As a film, not so much.

It suffers an abrupt ending and, compared to the creativity displayed in Coppola’s other biopic, Marie Antoinette, is a more muted affair.

If you ever wondered what Fincher’s Bond might have looked like, this could be it.

An accomplished and classy follow-up to A Star is Born then, and one that proves Cooper is more than a one-hit wonder. But as an examination of artistic temperament, sexual voracity, and the patient women who love conductors, Maestro’s thunder has been stolen to a degree by Tár.

A funny, sad, bawdy, beautiful concoction that will haunt and provoke in equal measure.

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

Told with economy, and evading any easy genre classification - it’s part romance, part fantasy, part thriller, and more besides - it’s a very moving piece of work, and a testament to the power of love.

Whimsy with a capital W that unleashes Anderson’s arsenal of quirks. Truly marvellous medicine for fans, but could be a broken record for those who aren’t.

Like Ferrari’s motors, the production is sleek, expensive-looking and runs handsomely. But unlike the brand’s famous 0-60 mph starting capabilities, Mann’s film takes time to run the tyres in, only really reaching top gear in its second half. It works as a companion piece to Le Mans ‘66, but doesn’t manage to surpass it.

Denzel Washington is compelling in Robert McCall's swan song, but the story often falls flat.

A swearing dog voiced by Jamie Foxx is funny – once. Having set up its ribald premise, however, Strays – an R-rated riposte to such talking-pooch heart-stirrers as 2017’s A Dog’s Purpose, complete with cameos from that film’s stars – has to relentlessly and tiresomely up the ante, plastering the screen with so many peeing, pooping, and humping tail-waggers it feels more like A Dog’s Porno.

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.

As the film glides towards its climax, Song dismantles your heart with the cool proficiency of a bomb-disposal expert.

Director Tim Story (Barbershop, Ride Along, 2005’s Fantastic Four) skewers Hollywood convention and urban stereotypes in a rapid-fire satire that manages to be both scathing and affectionate. If the plot ultimately feels a tad stretched - despite the 97-minute run time - you’ll likely be having too much fun to care.

Working from a script by Greg Rucka (The Old Guard) and Allison Schroeder (Christopher Robin), director Tom Harper (The Aeronauts, Wild Rose) displays impressive action chops, injecting Heart of Stone with plenty of explosive fights and spectacular stunts. On those grounds, it’s rollicking genre fare. Story-wise, however, it plays all its best hands early on.

Fast, furious and based on fact, this pleasingly lateral adaptation embellishes a console-jockey favourite with familiar sports-movie archetypes.

The first Meg never pretended to be anything more than a shamelessly imitative, big-fish smackdown. Yet even that low bar proves too high for this listless, mechanical follow-up.

Turtle Power is back, thanks to a potent combo of winning humour and gnarly animation. Cowabunga!

The final minutes turn Talk to Me into something almost lyrical, a kind of urban myth you could imagine being shared between parties and campus halls. The filmmakers also blow out the candle at a flab-free 95 minutes. Turns out that’s enough time to get inside you and take possession.

If it sometimes feels a bit overstuffed, put that down to Lim’s understandable urge to prove that a gal-centred, globetrotting comedy can offer diversity, sharp social commentary, and dick jokes.

Family-friendly, spooky fun with surprising emotional heft and an ensemble cast clearly having a ball.

A vibrantly choreographed, credibly acted Brit-musical propelled by a stream of Take That bangers.

A playful, punchy tale that spills the beans about those Babies. Zach Galafianakis’ tantrum-prone tycoon transfixes.

Taut and sprawling, riveting and haunting: firing on all cylinders, Nolan tackles world-changing history with fearsome force and focus.

It’s a relief to discover that the Lady Bird/Little Women director’s tale of a dress-up doll is profound, silly, moving, smart, existential and, to use Ken’s word, SUBLIME! (shout this (K)energetically, please).

Mashing up Groundhog Day with Get Out, They Live, Sorry to Bother You, Westworld, A Clockwork Orange, blaxploitation films, "X-Files shit", and more, They Cloned Tyrone is a race-conscious conspiracy caper at heart, spruced up with some zippy patter and a razor-sharp cast.

This franchise is never happy to cruise - and M:I 7 goes all-out. It judders at times, but when it delivers, it delivers big time.