Director Roland Emmerich has been trying to make this movie since the 1990s, and battled hard to raise its $100m budget from individual investors. But why?

Much has been made of Martin Scorsese’s recent dismissal of Marvel films. Putting that debate aside, there’s no escaping the fact that in an era of rapid-fire sequels, with the same ensembles trotted out year after year, there’s far more frisson to be felt when the reunion is after not one or two, but 25 years – and what the filmmakers are seeking to recreate really is movie magic. 

Wild Rose director Tom Harper blends fact with fiction in a charming Victorian ballooning adventure that reunites Eddie Redmayne and Felicity Jones for the first time since The Theory of Everything.

Brittany (Jillian Bell) is the unhappily overweight life of the party, numbing her lonely life with booze and acerbic one-liners as she nears 30. Bad medical news makes her obsessively turn to running, eventually entering the New York marathon, with side-effects include an ambiguous romance with slobby fellow house-sitter Jern (Utkarsh Amdudkar).

How long can one decision follow you? How long can you hide from it? This is what underpins After the Wedding, a remake of Susanne Bier’s Efter brylluppet. It’s a drama shaped like a thriller, driven by emotion rather than intrigue.

If the recent period of British history that has involved recession, austerity, the hostile environment and Brexit is to have chroniclers, who better than Ken Loach and his trusty screenwriter Paul Laverty. Their blend of carefully researched social realism and nail-biting melodrama is angry, shaming, essential. Only the coldest-hearted bureaucrat or corporate heel could leave the cinema dry-eyed.

Stanley Kubrick’s The Shining ended in ice, Stephen King’s in fire which consumed the Overlook Hotel. King’s frightening, emotionally rich novel was written by an alcoholic about an alcoholic, Jack Torrance, and his suffering family.

San Francisco has rarely looked more unattainably golden than in Joe Talbot’s Sundance prize-winning gentrification parable.

This is a departure in every sense for François Ozon. The prolific French director has established himself as a master of ludic style in past dramas played out by predominantly female casts, the exceptions, among them his sad black-and-white period romance Frantz from two years ago, largely proving the rule.

Starting life as a comic strip in 1938, The Addams Family seems to have reinvented itself for every generation. It’s the story of an odd-ball family from ‘The old country’ (where that is geographically located is by-the-by), who love the grim and gothic. Their outlandish ways were neatly juxtaposed against the wholesome values of American suburbia.