There’s little wit, inventiveness or originality to be found anywhere in this tedious picture.

It’s a bold piece and unapologetically so, and it ultimately makes the likes of Gravity look like an episode of The Jetsons by comparison.

If Rami Malek can win an Oscar as Freddie Mercury, then Taron Egerton should at least get nominated for his dazzling turn as Elton John.

The Peanut Butter Falcon is neither condescending nor cloying, and its greatest strength rests in the relationship between Zak and Tyler.

The only folks who have any reason to be angry are those who earlier caught the film’s red-band trailer, which idiotically included the very last scene of the film.

What makes Dora and the Lost City of Gold so appealing is the characterization of its heroine as a perpetually chipper, never-say-die sort, with Isabela Moner irresistible in the part.

It’s the prickly interplay between Hobbs and Shaw that defines this picture, with Johnson and Statham clearly relishing every opportunity to flex their mouths as much as their muscles.

Before the picture ends, Tarantino has one ace left up his sleeve, and it’s sure to divide audience opinion with the precision of the Red Sea parting. I only objected to it because it’s a trick Tarantino already used before — to brilliant effect — in one of his previous pictures.

If you’ve seen the original, it’s impossible not to compare and contrast, and this version falls short in practically every way. Those who have never seen the ’94 edition will doubtless be much more charitable in their assessment, although even they might be put off by the soullessness of the entire enterprise.