There’s no questioning Skarsgård’s commitment to his character’s descent into depravity, while the gifted Goth is fearlessly uninhibited. But just because Infinity Pool looks good on the surface, that doesn’t mean it has hidden depths.

With the story lacking real jeopardy, the feeling this leaves isn’t quite fury, but it’s certainly apathy.

A full-on fourquel whose attempts to up the action ante yield frequently blistering results.

At the heart of both movie and boardgame is that deep sense of community and camaraderie, which bonds the quartet of misfits nicely.

Bigger, bloodier, blunter. Ghostface goes all-in for the kills in a brash but broad requel-sequel, sharpened by Barrera/Ortega’s ace pairing.

A propulsive thriller that’ll appeal to die-hard fans and newbies alike.

Michael B. Jordan keeps the Creed formula feeling fresh with a confident directorial debut that's also 2023’s second threequel supercharged by a Jonathan Majors antagonist.

Despite its 95-minute running time, Banks’ wild adventure feels drawn out. Never sure if it wants to conjure real suspense and scares (it fails) or embrace riotous comedy in a full-on bear hug, Cocaine Bear also suffers from moments of cartoonish CGI.

CGI/saga-building issues aside, the MCU’s fun sci-fi getaway stretches Ant-Man and answers any Multiverse niggles. Majors’ menace focuses the attention fiercely.

A slick, dance-crammed London excursion that loses some magic when it focuses on romance.

From hook to pay-off, this is Shyamalan doing what he does best. A clever story, thunderously acted, carried off with élan.

What really elevates this sophisticated sequel is Banderas’ rich voicework, which reveals that, under Puss’ suave bluster, there’s a moody moggie discovering fear for the first time.

While some might have preferred this story with its edges unsmoothed, The Fabelmans is better viewed as the tale of how Spielberg’s personal values inform his every artistic decision, and how he became who he is: The Greatest Showman On Earth.

Precision-built to make you chortle, M3GAN is a l0t of 4un. On the fr1ghts front, however, it’s basically a Furby.

It’s the filmic equivalent of a Penn and Teller magic trick: amaze, show the mechanics, amaze again.

The style might cause whiplash, but it’s worth it for the thrilling momentum Chazelle brings to his revisionist filmdom fantasia.

James Cameron mobilizes on all fronts for an imperfect but imposing blockbuster: dazzling, supersized, rippled with currents of sincere feeling.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.

Wells has crafted a feature that gets its hooks into you before you’ve had a chance to work out what it’s doing.

It’s a delight to watch Amy Adams do Jekyll and Hyde as she incrementally transforms from cheery Giselle to noxious stepmother, while Maya Rudolph is a whole heap of fun as the ultimate control-freak soccer mom who - of course - becomes queen when Monroeville turns into “one big fantasia”.

Between a fallen king and a rising threat, Marvel’s cinematic Phase 4 ends on a tender and – mostly - triumphant high.

Though the action and characters are sketchily served, Brown’s match-dry lead, Bradbeer’s brisk direction, and fine support casting make a persuasive case for Enola’s return.

Fast, fierce, fuzzy: nicely unruly, naggingly undisciplined, Johnson’s live-action DC bow strains to entertain but struggles to breathe amid the noise.

Fans, naturally, might simply want what they came for, and leave licking wounds. But they should be partially sated by some grisly kills and nods to Carpenter classics Christine and The Thing. And besides, let’s not fool ourselves that it really ends here. Friday the 13th: The Final Chapter was followed a year later by Friday the 13th: A New Beginning.

A serviceable translation of a theatrical success whose weaker elements are found wherever it veers too widely from its source.

It's a rocky, at times patience-testing ride that plays something like a screwball riff on The Plot Against America, but Amsterdam is ultimately worth the trip.

As terrific as Colman is, however, the film around her has a schematic and engineered quality not too dissimilar from Jones’ prized projectors.

Another enjoyable yet flawed addition to Disney’s live-action catalog, with stunning visuals that capture the magic of the original but ultimately fail to keep up the pace.