The film title Pleasure begs the question, whose pleasure? Since first-time feature director Ninja Thyberg’s cautionary drama depicts the journey of a newcomer intent on becoming the Los Angeles adult film business's top female performer, the pleasure self-evidently isn’t hers, but that taken by the hordes of men who’ll watch her being systematically degraded on Pornhub and its ilk. 

I really wanted to like Good Luck to You, Leo Grande. It’s got a funny trailer and Emma Thompson has been passionately publicising her film. And while our screens are currently full of stories about twentysomething girls and their chaotic love lives, watching a 62-year old woman intent on enjoying sex with a younger man on her own terms seemed promising. Unfortunately, the film is overly talky and visually dull. 

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. 

French filmmakers do family dramas so well, and none better than François Ozon when he is on form, as he is on Everything Went Fine.

Like her first two features, Lucile Hadžihalilović’s Earwig is an oneiric coming-of-age drama that uses body horror imagery as a metaphor for the daunting unknowns – sexual and emotional – to be encountered in adulthood.

The piercing-eyed German actor Udo Kier is best known for his supporting roles in many high-profile films, including those of Lars von Trier, Gus Van Sant and Fassbinder. In Swan Song, he carries off his first starring role magnificently as wry ex-drag queen and Ohio hairdresser Pat Pitsenbarger, though the film itself is rather meandering and has mawkish, saccharine moments.

A birthday weekend in Devon goes rather badly wrong in All My Friends Hate Me, the new film co-written by its leading man, Tom Stourton, that looks guaranteed to make shut-ins of us all.

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.

French director Mia Hansen-Løve’s graceful, intriguingly open-ended seventh feature, and her English-language debut, is set on Fårö, the island that Ingmar Berman loved.

The Camera Is Ours features films made from 1935-1967 by women like Marion and Ruby Grierson, Evelyn Spice and Margaret Thomson, whose names should be engraved in the history of British film-making.