★★★☆☆ It’s 1918, and the elderly woman that terrorised the screaming youths of X is still a tender young thing, stuck on her parents’ farm and dreaming of a life of stardom in faraway Hollywood. How far removed from that wizened psychotic killer this cherubic vision now stands.

★★★★☆ There is tragedy and there is comedy, but the hinterland has never really received a proper definition. Melodrama suggests histrionics and musical accompaniment milking the emotional teat. Drama is too broad. And anyone who suggests “dramedy” should be punished. It would be “dramedic”.

★★★★☆ One year on from the events of the previous franchise entry, Ghostface is up to their old tricks again, slicing and dicing their way through a new batch of shrieking victims, the action now shifted to New York. With the new generation of Screamers now firmly installed, headed by the Carpenter sisters Sam and Tara (Melissa Barrera, Jenna Ortega), can the ghost(face)s of the past be laid to rest?

★★★☆☆ His heavyweight champion status secured, the now-retired Adonis Creed (Michael B. Jordan) spends his days lounging around his Hollywood mansion, having tea parties with daughter Amara (Mila Davis-Kent) and running his gym with coach Little Duke (Wood Harris). But when a long-forgotten figure from Adonis’ past returns, his future is thrown into question.

★★★★★ Léo (Eden Dambrine) and Remi (Gustav De Waele) are best friends. At 13, they are intelligent and autonomous enough to be allowed a certain freedom, but still full of the childish and spontaneous joy of being and imagining. They pretend villains are attacking the castle, run through the flower fields, and have so many sleepovers together that Leo’s mum wonders aloud if he’ll ever come home.

★★★☆☆ “Family isn’t a word…it’s a sentence”. So ran the tagline to The Royal Tenenbaums. For Hirokazu Kore-eda it could be argued that it’s a whole career. From Still Walking to the Palme d’Or-winning Shoplifters, the Japanese auteur has spent the greater part of his career delineating the lines of attraction and repulsion, the dynamics of duty and care that make up families – both real and alternative.