Waking at a pivotal moment in Black Angel, alcoholic songwriter-pianist Marty Blair (Dan Duryea) momentarily mistakes his new professional partner Catherine Bennett (June Vincent) for his estranged wife Mavis Marlowe (Constance Dowling). Each is a radiant blonde singer, but to Marty they are polar opposites: Catherine the madonna, Mavis the whore.

It’s 1968, and Seberg leaves her husband, Romain Gary (Yvan Attal) and son, Alexandre (Gabriel Sky) for an audition in Hollywood. She seems happy to be going. Touching down in LAX she joins a group of black activists, led by Hakim Jamal (Anthony Mackie), and offers up a black power salute. Her intentions are unclear. Is this an act of solidarity in the fight for racial equality or a publicity stunt?

Sentient machines have taken over the Earth. The leader of the human rebellion is so effective that a robotic ‘terminator’ is sent back in time to ensure he’s never born. A guardian follows, to ensure he is. We’ve been here before. 

Wisecracks can be profound. The late André Previn – who spent most of the period from his late teens to his mid-thirties working in film studios – once responded to a critic’s snub that the music of Korngold all sounded like Hollywood with the line: “No, Hollywood music all sounds like Korngold.”

“You know twinkle toes, in another life I bet me and you could’ve done some serious damage.” 

When Jason Statham’s bad guy turned good finally warmed to Dwayne Johnson’s cartoon-like lawman in Fast & Furious 8, it could well have been a cue for this spin-off focussed on the two bickering beefcakes.

Just how many cinematic universes can one planet stand? Gareth Edwards’ 2014 Godzilla and Kong: Skull Island’s Apocalypse Now/ape mash-up suggested there might be useful room for old-school creature features amidst the superhero surfeit.

Moments before Quentin Tarantino’s blistering, outrageous work screened at Cannes, a message was delivered on behalf of the director, asking reviewers to avoid spoilers. It’s easy to see why. There’s a lot of pleasure in the film’s initial shock value, So yes, let’s avoid spoilers. But the surprises aren’t what make this film so good. Tarantino has form when it comes to handling ensemble pieces, but not since Pulp Fiction has it been so richly rendered.

“I hope you’re not only Wolverine fans or this is going to be a long night,” a grinning Hugh Jackman tells a screaming Glasgow crowd. The line – delivered in front of a giant screen on which Jackman, adamantium claws extended, is climbing out of a river with his shirt off – sums up a particular curiosity about the actor known to many as the Greatest Showman: how did an award-winning musical theatre actor end up playing a comic book mutant?

The Earth’s mightiest defenders are back in a triumphant climax, 11 years in the making. Despite a three hour runtime and an overstuffed preceding chapter, the Russo Brothers pull off the near-impossible by creating a wholly satisfying final chapter, and possibly the best film in the Marvel Cinematic Universe.

Stan & Ollie unfolds mostly during Stan Laurel and Oliver Hardy’s 1953 British concert tour, when the boys were on their last legs as a comedy act – Hardy was physically spent – but still showing flashes of their old genius. The lure of the tour, according to Jeff Pope’s screenplay, was to raise industry interest in a Robin Hood film to have starred the duo.