Nikki Baughan

The Devil Wears Prada has become something of a modern classic, thanks largely to its eminently quotable, whip-smart observations about the world of fashion and its enduring sense of style. It’s unsurprising, then, that this sequel (again directed by David Frankel) is cut from exactly the same cloth, deliberately designed to be a narrative retread – albeit with a few Gen Z updates – that should delight existing fans.

It’s a bold, gothic, compelling study of the cult of fame, the creative impulse, the fragile threads that bind. Every aspect of the film is carefully crafted and calibrated in service of Lowery’s distinctive vision, and, while it may prove divisive, it casts a hallucinatory spell.

The Fox doesn’t go far enough, its sombre tone muting its fantastical elements, its weirdness not nearly weird enough to overcome its flaws.

Propulsive and entertaining, Peaky Blinders: The Immortal Man has plenty to keep fans happy and a wider audience engaged.

There’s something deeply compelling about this deliberately odd, carefully-calibrated neo-gothic fable, which suggests that rehabilitation can be found in the darkest of places, and that true freedom is simply a matter of trust.

Ultimately, The Bride! stays the course as exciting, exhilarating filmmaking, a bracing example of creators throwing convention aside and pushing their vision to the absolute limit. Mary Shelley would no doubt approve.

Catak retains an effectively claustrophobic atmosphere and a tight focus on his characters and their issues.

While Frank & Louis is narratively unsurprising, its strong performances and emotional authenticity give it undeniable power.

The narrative is often nonsensical, and the dialogue can lean towards the risible, but the action is kinetic and Statham as watchable as ever.

In their scenes together, Clear and Duggan spark beautifully, navigating their characters’ emotional highs and lows with a mix of caustic wit and often moving vulnerability.