The Peanuts Movie is like many daily cartoon strips stitched into one 88-minute film. It assumes that audiences would either be well acquainted with the idiosyncrasies of the characters or young enough not to question them. However, the former group, of which I am a member, is left feeling nostalgic but underwhelmed. What is heartwarming is the simplicity of the story and the storytelling with a faithful adherence to the original ethos. Lucy charges just five cents for psychiatric counsel, Snoopy uses a typewriter, and flying a kite successfully is considered an achievement.

After the edgy Inside Out and the superb short film Sanjay’s Super Team that precedes the main feature, The Good Dinosaur is disappointingly unadventurous. Peter Sohn designs the film like an American Western, but the coming of age story is a familiar one.

The Hunger Games: Mockingjay Part 2 is a touch too sentimental and does not turn up the heat enough. However the political undertone comes to the surface, loud and clear, and Lawrence neatly presents how politics and showbiz are uneasy bedfellows.

This Hollywood remake of an Argentinian Oscar-winning film comes loaded with expectations. Sluggish pace and some contrived plot points dilute the unsettling moments, like when Jess enters an elevator to see the man accused of murdering her daughter walking free. Secret In Their Eyes does not meet expectations, and, unlike the characters that are unable to forget, the film is disappointingly forgettable.

…an endlessly long saga with a sheesh mahal at the end of a treacherous precipice propped up by illegitimate children, fake football matches and overly made-up actors. You can imagine brides-to-be making mental notes of which lehengas and saris they want copied as they watch this opulent, colour-coordinated costume drama.

Malala is highly confident, well spoken yet cheeky, and the story is powerful and inspiring. The documentary on her short life, which has had a far-reaching impact, is a bit reverential, safe and rather straightforward, giving one the sense that it might be aimed at children and adults alike.

Littered with clichés and rehashed gags, the sequel’s strength rests on the impressive art and animation. The simplistic gags might just work with young audiences.

This is when del Toro finds his true playground, painting every frame with intricate details and colour coding even the apparitions. With his core team of production designer Tom Sanders, cinematographer Dan Laustsen, costume designer Kate Hawley, editor Bernat Vilaplana and composer Fernando Velázquez, del Toro creates haunting and visually arresting images. Even when the ghosts appear, you find yourself unable to look away.

The sets are stark, effectively conveying the winter chill as Hanks sniffles through his negotiations, keeping warm with doses of whisky and brandy. As far as espionage thrillers go, it’s a fine watch, elevated greatly by class acts by Hanks and Rylance.

You really have to ask yourself about the maturity of the scriptwriters who have clearly given vent to their misogyny through this immature sequel to the 2011 film.