Kevin Harley

Underpinned by themes of language and identity, writer/director Rich Peppiatt’s rude, raucous film remixes music-movie clichés to Kneecap’s rebel tune with galvanizing verve. Tearing straight outta Belfast on barrelling beats, Kenneth Branagh it ain’t.

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…

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.

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

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

Part Two is an inarguable marvel technically, almost leaving its Oscar-grade predecessor for dust.

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

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.

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.

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.