Storks worked for me, and even when things looked like they were about to spiral out of control, there was just something about it that kept me interested to see what would happen next. It’s September’s first unforeseen surprise, and even if parents might end up having to answer a few unsettling questions about babies and their origins this is still an animated comedy the entire family should undoubtedly enjoy.

Even if its feet are planted in overly familiar territory, Blair Witch is spectacularly unsettling, its final 30 minutes a crackerjack roller coaster ride of suspenseful thrills and chills that are well worth the price of admission all on their own.

At the same time, the lack of heat, the absence of energy, it ends up making Snowden come across like much less than it should be. I wanted more, and, to put it frankly, with Stone at the helm it’s not too surprising that I was a little disappointed that I didn’t get it.

Clint Eastwood’s latest outing is easily the most streamlined and economical motion picture of the acclaimed actor-turned-director’s Oscar-winning career. With a deft, viscerally charged script by Todd Komarnicki (Perfect Stranger), Sully is a confidently self-contained procedural that concerns itself with the incident, its aftermath, and how it affected the two men in the A320’s cockpit and little else.

I can’t see anyone shrugging their shoulders in aloof indifference after watching The 9th Life of Louis Drax. Some will love it, others will hate it with a poisonous passion that will defy belief, but few, if any, will walk out of the theatre thinking it was only okay.

Offering up plenty of food for thought, I find Complete Unknown to be one I’m eager to sink my teeth into again, the line between fantasy and reality an ever-blurring wonderland where truth can be an illusion, and impersonation is often anything other than a lie.

Like the waves assaulting Tom and Isabel’s lighthouse, there was a constant war being waged for my affections here, and reservations notwithstanding I’m hard-pressed not to say that The Light Between Oceans deservedly ends up earning them.

Moving at a breakneck pace, filled with some inventive set pieces and a few nicely staged run-and-gun action beats, Mechanic: Resurrection utilizes Statham’s steely masculinity quite nicely, and as such ends up being far easier to watch than it likely has any right to be.

Morgan has its moments, just not enough of them to make up for its ample shortcomings, all of which results in a thriller that doesn’t thrill and a mystery few are going to care to learn the resolution of.