Ben Nicholson

It is, after all, the Baymax show - and he is cute, cuddly, comedy gold. Fortunately, although Big Hero 6 has various flaws, he's generally on hand to patch them.

Besides the overt journey for Christopher Robin of rediscovering some childhood joy, this film is a poignant exploration of the way in which we sideline important friendships at the behest of professional advancement.

Despite being lethargic at times, it's a rich portrait of people and place.

The political commentary feels far more explicitly pointed and widely integral than in previous incarnations which adds a bold new dynamic where perhaps the same re-inventive verve is lacking in the film's formulaic story. Fortunately, Greengrass and Damon are so in command of this material it's rarely too much of a concern. Even when little of substance seems to be happening, the narrative feels propulsive.

In only ever managing to skim the surface, the spirit of their crusade is never really evoked. What's left is ultimately a handsome, and at times heart-stopping voyage that never lives up to its classic forebears.

The story begins with the film's defining act and most accomplished sequence but, despite handsome execution, never hits those heights again in a plot where familiarity severely dampens the squib.

It's endearing, but unlikely to convert those that have previously resisted the director's charms.

Though there's an awful lot to be admired - not least an enormously impressive soundscape - The Revenant ultimately lacks the nerve-jangling thrills or the spiritual resonance that it strives for.

Shim directs well, but he lacks the verve for this to sail through on its visuals and although the denouement returns to the unconventional (discounting the unnecessary coda), the climax reduces the impact of what was otherwise an enthralling voyage.

Araki does manage to give Kasischke's ending a subversive little twist, but the scenario has spawned numerous complex questions and while they may be given traction throughout, the rushed and forced conclusion leaves one simultaneously nonchalant and conflicted, much like Kat.

That Sy and Gainsbourg's love story never quite inflames the heart ultimately means that Samba remains a pleasant, rather than an enduring watch.

The measured narrative and anti-climactic finale do mean that Mystery Road doesn’t pander to all tastes, and it never conforms to thriller conventions, but Sen has undoubtedly succeeded in fashioning a thoroughly engrossing journey into a modern Australian wilderness that’s well worth seeking out.

The politics serves as footnote to the aesthetic for Wheatley and High-Rise is certainly style over substance. For fans of the British director, that may well be more than enough.

For a film that vocally questions convention, it's perhaps a shame that Miller and co. played it so safe with a fairly cookie-cutter origin story, but it's really just there to give Reynolds ammunition to riff on. Whether the studio might be willing to push the character further into the leftfield in the future will depend on whether Deadpool warrants sequels.

It might seem unlikely that something so narratively simplistic and ultimately childish could sustain its runtime but the chaos and comedy of the haphazard gunplay is such that it only suffers from a handful of lulls.

Kelly eschews talking heads or expert testimony, and only rarely to characters flesh out the skeleton provided by occasional intertitles. When this style is employed for a single, short-term conflict, it can be incredibly powerful (just think of Sergei Loznitsa’s Maïdan) but Kelly’s film effectively drops the audience in situ at specific events within a much broader six-year framework without any context.

Certain sequences are handled exceptionally... but others feel overblown and some characters underwhelm. That’s not to say that Black Sea is not an enjoyable – and at times, enthralling – aquatic adventure, it just never quite thrills as much as it spills, and flounders during some of its more emotional beats.

Husson sketches teenage ennui well, and crafts complicated and watchable characters around which to base the core of her drama. The slip-up comes in a final act that bows out of the previously constructed conflict in disappointingly obvious fashion.

The two stars stay on their game but their relationship is largely sidetracked in favour of fending off ghouls. While the heart rate may increase the creepiness dissipates, though The Autopsy of Jane Doe remains good genre fun - if little more.

Though it is clearly a work of great empathy and respect, Bobby Sands: 66 Days takes pains to offer alternative perspectives and as such makes for a richly textured and complex portrait of man, myth and movement.

By focusing on the family, James makes Abacus about resilience and humility rather than the mechanics of litigation and in doing so underscores - perhaps more strongly than in other louder films on similar subjects - the injustice of the situation.

The Whispering Star may not be Sono at his most assertive - it certainly suffers in its middle section from the lack of thrust - but its imbued with tremendous resonance.

While there is hardship and anguish, Davies' deliberate and treatment of the source material ultimately lessens the dramatic impact even while it retains its splendour.

For all of the perfection of the period-detail browns and greys, Afterimage could have done with a touch more colour.

A deliberate almost-thriller that provokes many questions, but leaves answers equivocally out of focus right through to its conclusion.

Striking a balance between the dark and combative religious humour and its more saccharine elements proves difficult.

Winterbottom's The Face of an Angel makes for compelling viewing, painting an arresting character portrait even if it avoids the direct engagement with the original (and much-discussed) crime that some people may have been expecting.