Daniel Green

The tributes paid to Yauch throughout by both Horovitz and Diamond are genuinely touching, and it’s here that Beastie Boys Story breaks through its inherent – often distracting – staginess. While there is still a definitive, impartial Beastie Boys film in the offing, devout fans should be more than satisfied by this nostalgic oddity.

Though not without merit, Cold In July finds Mickle happily stalled in front of the drive-in cinema screens of his youth. Let's just hope he can find the exit.

The key here is the perfectly-cast Wilson, constantly swimming against the current of her own harrowing memories, often telling more in a single glance than her sporadic utterances to her similarly-broken brother ever could.

Featuring two outstanding lead performances from bright young talents Lika Babluani and Mariam Bokeria, Ekvtimishvili and Groß immerse their audience in the detritus of a country in tatters, whilst at the same time delicately nurturing two intertwining female maturation tales - with all that entails.

The good news for those not enamoured with Suspiria (2018) is that they’ll always have the original. The even better news for those who do go with this daring, uncompromised reimagining of Argento’s occult opus is that it now has a sleek, satisfying sibling.

Llosa shoots for the stars with her oblique pseudo-think piece, but unfortunately ends up dragging her latest offering down to the bottom of the coldest, darkest abyss of cod spirituality imaginable.

The Hunger Games looks poised to usher in a brand new hit franchise and deserves all the credit it gets for its confrontational subject matter, delicately-orchestrated fight sequences and sci-fi sensibilities. For teen audiences, films don't get much darker - or smarter - than this.

Thankfully, some typically rich voice-acting and a plethora of visual gags help to gloss over a number of uncharacteristic stumbles.

Slattery does at times struggle to bring anything new to the impoverished blue-collar, working-class trope. Relying heavily on several top-drawer character actors to lift his occasionally flat, even nihilistic story of love and death amidst urban decay, it's Hoffman and Jenkins that deserve the largest proportion of praise, while other characters quickly fall to the wayside of our interest.

There are several commendable performances in Richard Jewell – Bates’ among them – that lift an otherwise stolid, workmanlike entry into the filmography of the 89-year-old Eastwood.

Amini has proven his narrative acumen before and will undoubtedly do so again, but his inaugural stint behind the camera offers only fleeting glimpses of Highsmith's seductive, satirical prose that old hands such as Clément, Hitchcock and Minghella have so notably put to good use.

Short but sweet, Advanced Style goes some way towards reclaiming high fashion for all ages and backgrounds - not just the young, privileged and white.

A minor miracle in and of itself, Edwards' Rogue One somehow delivers on almost all of its weighty pre-release promises whilst at the same time besting The Force Awakens for sheer spectacle and world-building.

The Brood sees the undisputed king of body horror honing his visceral eye, whilst at the same time offering up several truly iconic images that have quite clearly endured.

Caution should always be taken when branding any film about an 80-foot ape "illogical", but such is the gross stupidity of the film's movable feast - and the abominable dialogue spewing from their mouths - that you'll likely thank the primate deity himself every time one is crushed, impaled or bisected.

Lilting looks set to linger on in the memory of those who seek it out for weeks, months and perhaps even years to come.

It remains remarkable that, at the grand old age of 73, Bertolucci is still making films of intelligence and guile, let alone features about teenage angst and sexual maturation.

Beneath the video nasty hysteria lies a horror of substantial craft and skill. Its iconic synth theme is on a par with the work of Goblin, whilst its rich cinematography makes the very most of the film’s luscious locales.

A lacklustre, frustratingly inconsistent work of music history sugar-coating.

Even Lavant's brief cameo as a roving theologist towards the finale can't spark the disappointingly bland Michael Kohlhaas into life - surely the most damning indictment of all.

Rio 2's Amazon adventure finds its wings clipped by more tired and unnecessary subplots than you can shake a feather at.

There’s just enough thrills and gills here to satisfy both monster-movie junkies and advocates of multi-million dollar US/Chinese co-productions.