Henry Barnes

Things to Come is a smart, earnest undertaking: an exploration of the insecurity that can hit any of us, at any age, when we start to question the life we’ve built.

The message is laid on slow and thick, but it's no less powerful for it.

Red Army is executive produced by Werner Herzog and Polsky borrows some his impishness. He makes sport of the old guard's rebuffs, glories in the occasion when Fetisov gives him the finger. This, he seems to say, is the attitude that made these guys.

From a subdued start Nightcrawler unfurls into a ghoulish and wickedly funny satire on journalism, the job market and self-help culture.

Vallée, in collaboration with screenwriter Nick Hornby, gives the film its energy by pulling the narrative apart. They create a two-hour hallucinatory montage of the hike and Cheryl's back story that's wound together with the songs, phrases and poetry that she recited to herself as she walked.

The result is an unpredictable film, a difficult approximation of a biopic. But it delivers a Jimi Hendrix experience somehow the richer for sidelining the man and subverting his music.

For a film that champions talent that takes risks, Frank can sometimes feel a little too conventional. The real Sidebottom's wayward genius would be a hard fit for any story arc, but Frank does a good job of dipping into surrealism and pop in equal measure.

It's rare to see a film about music that professes its love for the music and its characters equally.

The Double isn't an original idea. It wasn't even in Dostoyevsky's time. But it's a great story. And Ayoade has produced a brilliant copy.

What Rush has to offer is a great human drama, two dangerously talented men pushing each other to risky victory and a superb script, delivered with some mastery by Hemsworth and Brühl.

A crash reel – a greatest hits of a boarder's most dramatic falls – is meant to entertain. But Walker takes the cheap thrills of the format and flips it painfully on its head.

Between the kung fu, the gunplay, a gentle romantic subplot and the extreme gastronomy – there's something for everyone.

The adults' behaviour is almost as confusing for us as it is for her. It's a neat trick that reminds us these weighty adult issues are both life-changing and, in the moment, somewhat insignificant to someone Maisie's age.

The soundtrack's ironic bent might dissuade older viewers (Simple Minds are venerated), but they'd be missing out on one of the best musical comedies since A Mighty Wind. The song's the same, but Pitch Perfect is a great cover version.

Once you commit to the lexicon – to the blunderbusses, the silver, the loops that close and the loops let run – you're in for a breathless ride. It's been a patchy summer for sci-fi, absent of anything that really sticks in the mind. Johnson's deep, distinctive film plays on repeat.

Ahadu pulls the curtain back on a government that was willing to imprison and torture its electorate.