Ben Nicholson

This is the fourth instalment in the Guest mockumentary 'canon' and it's evidence that the format has now solidified into a template that needs refreshing, as much gentle enjoyment as it might bring.

Louis Black and Karen Bernstein pay warm tribute to the filmmaker in what is a fitting ode to independent spirit more than a penetrating portrait.

Despite a delicate handling of Kyle's internal struggles on home soil, deeper complexity appears to lie just out of frame throughout.

With no fun to be had, The Gunman also lacks essential thrills. If Sean Penn is winging for an action-hero renaissance like Neeson's, he'll be in need of material a lot more compelling than this.

Like much of his recent scripted work, it's a mannered affair that's vague and clumsy.

It's an undeniable hoot that plays very much to a specific audience but a word of warning: even those that are fans of this kind of ridiculous and farcical actioner might find themselves checking out of Yakuza Apocalypse before their stay is up. Again, with emphasis on the word 'might'.

An uneven blend of melodrama and the horrors of civil war, it should be anchored by strong leads but instead remains listless and adrift.

The period atmosphere isn't alive with bold ideas as much as decay.

Woman in Gold is ultimately a worthy endeavour even when it is not entirely successful.

It's a rancid cocktail of misogyny, homophobia, and much more besides, that never convinces as scathing satire as much as back-slapping celebration.

Everything looks incredible, but the players are all just ciphers for ideas that Snyder lacks the wherewithal to execute.

Gordon-Levitt is perfectly fine as Snowden, getting the voice and cadence fairly spot on and he looks almost right. The problem is that he's such an introvert and blank slate - that's pretty good for espionage but not especially compelling for a character arc.

The problem is that Apocalypse's highlights feel like moments of serenity amidst two-and-a-half-hours of lumbering, inconsequential chaos.

Despite its claims to zaniness and colouring outside the lines, probably the most damning indictment of the silly Suicide Squad is that it's unrelentingly bland.

Richard Wenk and Nic Pizzolatto's screenplay completely lacks the interpersonal vibrancy that a film like this needs and this is glaring given that it maintains the slow-build tension of the original.

Neither player wins the audience's allegiance during the oft-strained game of seduction - much less convinces as a human being.

The visuals are undeniably impressive at times, as Henry parkours around the city or during a particularly tense shoot-out, but they also struggle with inevitable motion sickness of the frenetic handheld camerawork.

There's no doubt that the people that Fox singles out are worthy of his cameras attention, but it doesn't equate to a coherent feature film as much as an enormously wasted opportunity.

As an entry into the Scandi police procedural genre, The Keeper of Lost Causes disappoints. As a TV pilot, however, it's serviceable yet unremarkable; the kind of thing that you'd probably give a couple more episodes in the vain hope that things will pick up.

A drab and airless affair, it effectively ignores the substantial political commentaries inherent in its story, and fails to land the emotional punches of the one it's intent on telling.