When Hustlers is focused on the women, particularly behind the scenes at the strip club, it’s refreshing.

A faithful remake…In The Lion King, the technology Jon Favreau wields has got another update, to deliver every single, wind-blown hair in the beautiful manes of Simba and Mufasa.

Right till the end, the film’s heart remains in the right place, whether it’s the brief moments Peter can steal for MJ, the times he reaches out for someone to talk to, and the short sequence that shows he is ready to be what the film always intended him to be: Tony Stark.

Even for Pixar, this fourth part seems a lazy concession to the exigencies of a profitable enterprise — though the studio with the magic touch does even this better than most.

Having laboured over setting up the final battle in Avengers: Infinity War, Directors Anthony and Joe Russo get their act together to give a proper, emotional, funny and, yes, even spectacular, send-off to a cast of characters we have come to know (and, mostly love) over 22 films and 10 years.

The Jordan Peele directorial is terrifying but muddled…If Get Out portrayed the deep fears of the two delicately poised races, Us goes deeper into the inner-most fears of us all. Us vs them. Us vs us. US vs the world. And the wall vs us.

The film’s centrepiece, an Autobot called Chris, makes you feel for every pummelling he takes from the Decepticons chasing him across planets. 

Where Fantastic Beasts: The Crimes of Grindelwald scores, and full marks to both JK Rowling and recurring Harry Potter director David Yates here, is in putting their imaginations on screen.

It’s Ryan Gosling himself whom Neil Armstrong may have approved of. Gosling also efficiently navigates the various roles expected of him.

An enjoyable affair…Michelle Yeoh as Eleanor, the stern matriarch of the Young family, is quite credible, aware at all times about the hard battle she has waged to be accepted too, and the thin foundation on which this rests.