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.

A villain eventually comes into focus in the second half, and it’s here where the film takes a tumble.

Dark Phoenix is like Smokey and the Bandit 3, when even Burt Reynolds knew enough was enough and bailed before filming got underway.

Even if it doesn’t soar as high as one would like, Rocketman is still a better movie than Bohemian Rhapsody, which suffered in part from its PG-13 designation. Rocketman is a solid R, more in line for this sort of warts-and-all picture.

By providing the former Fresh Prince with fresh material, Will Smith is able to escape the inevitable comparisons by fashioning a Genie that doesn’t always instantly bring to mind Robin Williams’ stamped trademark on the part.