Laura Venning

As much as Spider-Man: No Way Home felt like slavish fan service, it did at least feel like it was telling its own story. Brand New Day might be hitting a reset button to a certain extent with a scrappy anonymous hero determined to win MJ’s heart, but so much late stage focus on its villain makes it more of a branding exercise for the upcoming Avengers: Doomsday then anything else.

Unchallenging and sometimes clichéd but ultimately good queer fun,this just about balances zany humour with earnestness, boosted by terrific comic creations the Straight White Maliens.

Cox evidently harbours a profound love for his homeland, and it’s nice to see Alan Cumming and Shirley Henderson speaking in their native Scottish accents for a change. But while it may inspire you to book a Highland holiday, there’s little else to take away from such a soppy passion project.

The story unfolds at breakneck speed, with never a dull moment.

A wry, sharp and never self-serious take on pop stardom.

A profoundly affecting story of doomed love and lost time that boasts captivating performances from Mescal and O’Connor. Come for the boys, stay for the magic of storytelling through song.

As absurd as their story is, it’s hard not to be won over by Lightning & Thunder. You will have Sweet Caroline stuck in your head for what feels an eternity afterwards, though.

It’s a real pleasure to be whisked across the world by Baumbach, but perhaps this cinematic glass of Prosecco goes down rather too easily.

The result is a melancholic, Terrence Malick-ian vision of a place that is brutal, beautiful and forever lost to time.

A genuine disappointment from an intriguing, potentially even subversive premise. It’s another commanding performance to add to Monroe’s oeuvre, but this Cradle is more frustrating and forgettable than it is thrilling.