Brandy Norwood returns to the big screen in Sam and Max Eggers' directorial debut about an old racist woman with dark intentions for her unborn grandchild.

So…a BEETLEJUICE sequel? No rational person would want it to be terrible or treat its arrival with the dread you would normally reserve after a 12 week scan confirms your partner to be pregnant with the Antichrist. Great news: as soon as the monochrome Warner Bros. logo has faded away and the unmistakeable Danny Elfman title theme kicks in, you can relax: we’re in safe hands.

It all begins with an idea.

Although credited to screenwriters Chad Law and Shane Dax Taylor, you could be forgiven for thinking TIL DEATH DO US PART might be an A.I.-generated hybrid designed to merge all our favourite moments and characters from JOHN WICK, TRUE ROMANCE, READY OR NOT and KILL BILL. If this is the case, The Machines have failed to carry over the wit, excitement, invention, and humanity. Early on, a poor rip-off of Hans Zimmer’s glorious “You’re So Cool” theme from TRUE ROMANCE (itself an adaptation of a Carl Orff piece already appropriated by BADLANDS) makes you realise just how tediously third hand all of this is.

For those of you who may have missed the first instalment of the Baby Assassin's franchise, you may or may not be disappointed to discover that these films do not in fact feature infants who are highly skilled in the art of death but two young women, Chisato and Mahiro, fresh out of high school who despite their highly lethal line of work are more preoccupied with elaborate desserts and holding down a series of low paying day jobs to pay the rent for the day-glo coloured apartment they are forced to share by the Assassin’s Guild.