PERHAPS for the first time since the start of the pandemic, schedules are beginning to feel busy at the box office again.

This week; three big hitters vie for attention. There’s the latest feature from Skyfall director Sam Mendes, a rollickingly fun new horror and searingly intense physiological awards magnet. Where to begin?

The latest success story from the Blumhouse machine, M3GAN has already proven itself a smash hit across the pond. Here in the UK, a Friday 13th release date should set genre fans salivating.

It’s a cautionary tale and yet one more warning against over reliance on artificial intelligence. When her parents are killed in a tragic accident, nine year old Cady (Violet McGraw) is sent to live with her roboticist aunt - Allison Williams’ Gemma.

Having no time to care for her niece, Gemma gifts Cady the Model 3 Generative ANdroid - aka M3gan - she has been working on. Cady quickly bonds with the robot doll, who has been programmed to protect her owner at all costs. Naturally, it’s not long before things spiral wildly out of control.

M3GAN comes directed by Gerard Johnston and from the pen of Malignant’s Akela Cooper. It’s hugely entertaining stuff and completely ridiculous.

More artistically absurd, Tár brings together a tour de force performance from Cate Blanchett with bold, unapologetic filmmaking from Todd Field, in his first film for 16 years. The effect is phenomenal.

Blanchett plays Lydia Tár, a fiercely believable celebrity in the world of classical music. Tár is a lauded composer, the first female chief conductor at the Berlin Philharmonic and a force to be reckoned with. Her fall from grace is spectacular.

Brimming with artistic excess, and long at over two and a half hours, Tár risks self-consumption. Yet, Blanchett grounds things. Few performances this year will prove so magnetically watchable.

Also this week, Sam Mendes’ Empire of Light. With roles for Olivia Coleman, Colin Firth and Toby Jones - not to mention BAFTA rising star Michael Ward - the film boasts fine performances but can’t help but disappoint.

It’s the tepid writing that lets things down. That and a well intentioned but risible handling of issues pertaining to mental health. Much happens but little is said coherently.

At least, with Roger Deakins behind the film’s visual style, Empire of Light looks the part. It’s a beautiful picture.