Baran bo Odar and Jantje Friese won delirious acclaim for their previous Netflix series Dark, a labyrinthine and fantastical account of children vanishing from a small German town. Anyone familiar with its baffling events and leaps across different timelines will probably feel at home with 1899, the duo’s similarly mind-bending follow-up.

The projection screen reflects light onto the Foley stage. I can just make out the edges of the built-in cement and metal surfaces around the floor’s perimeter and the large dirt pit centre stage. Bamboo poles, a hockey stick, and a shovel poke out from storage bins to my right. The corner of a car hood winks from underneath a furniture blanket. These tools wait their turn to become something other than what they were originally designed for. 

Scenes that stay in the mind: Arnold Schwarzenegger as the Terminator peeling back the skin on his forearm to reveal the gleaming machinery within; a beady-eyed, new-born Alien bursting from John Hurt’s abdomen; that all-species bar in Star Wars; the spaceship’s long-awaited descent in Close Encounters.

Vesper is a piece of arty European sci-fi, filmed in the forests of Lithuania (homeland of co-director Kristina Buozyte) and set in a dystopian future conjured up by its French co-director Bruno Samper (a "digital experience designer"). The two collaborated in 2012 on Vanishing Waves, which was the first Lithuanian sci-fi film to play in the US, won awards on the festival circuit, and came with quite a lot of explicit erotica.

FRIDAY 22 JULY by Caspar Gomez

The animation may be stunning, but in every other department, Lightyear is a disappointment. It’s a crying shame for anyone who loved the original Toy Story and its (mainly) excellent sequels. If you were expecting a buzz from Pixar’s origin story, brace yourself instead for a damp squib. 

Franchise burnout continues apace, in this asteroid strike of a finale. Doctor Strange in the Multiverse of Madness showed the previously agile and humane Marvel machine weighed down by plot mechanics and fan service, and this Jurassic Park/World trilogy unification bout proves a pointless, often ponderous 146 minutes. As post-pandemic cinema moves to total dependence on such sequels, their creative entropy could be an extinction event for filmgoing itself.

Emily St John Mandel’s wonderful novel of 2020, The Glass Hotel, featured people and places from her previous pandemic-themed blockbuster, the brilliant Station Eleven.

Back in 1999, The Matrix offered something revolutionary. With a heady brew of William Gibson-influenced cyberpunk, Platonic philosophy and Prada, it proved that blockbusters could be both smart and action-packed. Remember those days? 

Netflix is sometimes criticised for bringing too much of everything to its online feast, but the way it’s opening up previously under-exposed territories is becoming seriously impressive. Suddenly, South Korea is beginning to look like a powerhouse in the making, with consecutive big ratings hits with Squid Game and now Hellbound.