With fears of retirement and his racing days coming to an end, anthropomorphic car Lightning McQueen (Wilson) comes to the realisation he may never be as fast as the newer, flashier cars. After a spectacular crash during the final race of the season, McQueen discovers that he needs help – in the form an eager, young race technician (Alonzo) – to get him back on his feet (or wheels).

Pixar clearly didn’t want to risk going onto the track and doing the same thing again, so have changed gears by raising the emotional stakes for McQueen. The film delves deeper than previous instalments into themes of jealousy, rivalry and the tall poppy syndrome experienced by many elite athletes on their decline.

The franchise itself may well be approaching the final chequered flag, but this is one Cars film truly worthy of the Pixar name. I suggest you bring your kids along to our screening to celebrate the spectacular racing sequences on the big screen for what could well be McQueen’s last lap around the circuit.

Believe it or not, this isn’t the umpteenth adaptation of Shakespeare’s Scottish tragedy. Nor is it a Maleficent-style re-imagining told from the point of view of Lady Macbeth. This powerfully intoxicating British drama is actually an adaptation of an 1865 novella by Russian author Nikolai Leskov – “Lady Macbeth of the Mtsensk District” – albeit with a sensibly shortened (and more pronounceable) new title.

In Victorian-era rural England, 17-year-old Katherine (Pugh) has been sold by her family into a loveless marriage with a domineering man twice her age. Stifled by her frustrating existence, she enters into a lustful affair with an uncouth worker (Jarvis) on her husband’s estate.

But when she is expectedly reprimanded for her adultery, Katherine doesn’t slink away into emotionally conflicted soliloquies a la the heroines of Brontë and Austen. Instead, she finds a powerful force awakened within her and is empowered to take whatever action is necessary to ensure her independence. Yes, even murder.

At just 19 years of age, Florence Pugh delivers a sensational and electric performance that announces her as a major talent to be watched. With nods to timely race and gender issues, and an adrenaline shot of gothic melodrama, Lady Macbeth reinvigorates a traditionally-stuffy genre and, for that alone, demands to be seen.