At 85 minutes long, it doesn’t really overstay its welcome, but it kinda invited itself anyway.

One of the worst adaptations of Stephen King’s works; even Matthew McConaughey and Idris Elba’s talents aren’t enough to save it from collapsing.

While Annabelle: Creation is by no means a perfect film, and nor is Sandberg the best director currently working in the genre – he doesn’t, for instance, have the sixth sense of a M Night Shyamalan or Fede Alvarez (Don’t Breathe, represent) – he has made a film that’s a vast improvement over its predecessor, and I would go so far to say, even the two Conjuring movies.

in the hands of David Leitch, one-half of the team that brought us John Wick, it’s a film that has one of the best action scenes of the last decade. Not even exaggerating. The scene arrives a little after an hour into the movie, and without a shadow of doubt, is worth the price of admission alone.

Dare I say it, even Imtiaz Ali’s Highway, which has one of the most colossally misguided tones – and third acts – in recent memory, managed to convey the slow psychological paradox of being in a relationship with your kidnapper more palatable.

Luc Besson’s new film is one of those legendary box office bombs – the sort of film that’s written about for years to come, and spoken about only in hushed tones.

One of the finest blockbuster trilogies comes to a thrilling, sombre conclusion, thanks to Matt Reeves direction, and Andy Serkis’ great performance.

Tom Holland brings an innocence to Peter Parker we’ve never seen before. Robert Downey Jr meanwhile, can play Tony Stark in his sleep.

Director Michael Bay returns for the fifth time, and Mark Wahlberg for the second, to pound your brain into a pulp with wall-to-wall cacophony.

After two films that couldn’t match up to Pixar’s high standards, Cars 3 – buoyed by Owen Wilson’s earnest performance, and a darker, more emotional story – races away as the best entry in the series.