Graham Fuller

It would be going too far to say Wonder Wheel is an instant Woody Allen classic, but it’s a reminder that he’s still a force to be reckoned with and a great director of actresses especially.

All credit to Dan Stevens for rendering so vividly a selfish, abrasive character.

Mendelsohn makes Ray plausibly remorseful, yet the suspicion remains that he’s as creepily self-serving as Humbert Humbert in Nabokov’s Lolita. Mara, meanwhile, is like a seared, broken Alice groping for a way out of a psychic labyrinth - hers is a fearsome performance.

Perversely pleasurable, it works on its own self-conscious terms, though not all audiences will appreciate its English brand of sad-sack humour.

Justin Kelly’s King Cobra bears the distinction of being the first optimistic black comedy set in the world of gay porn production that’s also extremely classy.

Robert Greene’s latest fusion of reality and meta-fiction is fiercely intelligent, but inescapably tars itself with the ghoulishness it critiques.

Van Groeningen conveys kinetically the combined power of a ferocious beat, copious drugs, and sexual energy to endow revellers with transient communal utopianism.

A raucous and outrageously (if harmlessly) crude slapstick comedy.

First-time feature director Don Cheadle has made an invigoratingly bold attempt to structure his film about Miles Davis as an extended visual and narrative equivalent of modal jazz.

It’s no discredit to Steve Jobs, Danny Boyle’s propulsive and iconoclastic biopic of the digital-revolution visionary who democratised personal computing, that it’s a dispiriting study of capitalistic self-aggrandisement – one that leaves a sense of unease despite its ironically upbeat ending.

Unusually for a Spielberg movie, Bridge of Spies is tonally uncertain.