Ian Freer

For all its formula, Instant Family is a winning confection, unafraid to go to unexpected dramatic places and elevated by Byrne’s gift as a comedy foil and Moner’s lively but subtle turn.

After a gentle engaging start, The Book Of Henry makes an ill-judged move into thriller territory. But the performances, especially from Jaeden Lieberher, are strong and it delivers that rare cinematic treat: a real surprise.

A simple, effective thriller, Copshop doubles down on pulpy, ’70s-styled fun. It proffers little that is novel but has enough vim and vigour to compensate.

Truman & Tennessee: An Intimate Portrait’s staid approach doesn’t always cohere into a gripping yarn but it is detailed, boasts a real feel for the fiction and, in-between the two men’s rampant viciousness, emerges as undeniably poignant.

JT LeRoy is a decent telling of a fascinating, resonant true story. If it never really fulfils its promise, it’s worth it to see two major talents — Kristen Stewart and Laura Dern — in full flow.

A fun diversion for the kids, but you feel Attenborough could have packaged these often beautifully produced images with more rigour and insight in under an hour.

It’s a small, lightweight picture but Good Posture is alive to the messy realities of becoming a grown-assed adult, becoming more charming and involving as it goes on. It also suggests a bright future for writer-director Dolly Wells.

Dream Horse is predictable and manipulative to a fault but, sparked by Toni Collette, there is a strong sense of sincerity and commitment to the subject matter that helps it across the finishing line.

Creed II is to Creed what the Rocky sequels are to the original: a more generic, less textured take on familiar boxing movie tropes. The difference, it seems, is Coogler.

It goes nowhere fast and Kechiche’s camera consistently ogles his female cast but he remains a terrific director of actors, the intimacy and authenticity conveying a real lust for life to sweeten the hefty running time.

A potentially trite tale of an unlikely relationship is lifted immeasurably by Sophia Loren and is best viewed as a testament to the true power of the movie star.

Jellyfish is a familiar but compassionately drawn portrait of hardscrabble lives, centred by a terrific performance by Liv Hill.

Black 47 lacks the seriousness and rigour of other displaced Westerns like The Proposition and Sweet Country. But Lance Daly’s film is gripping enough to suggest Ireland’s tragic backstory is a frontier full of resonant riches.

The film soft-peddles any sense of controversy but what emerges is an entertaining portrait of a generous, funny, larger-than-life figure. And the music is sublime.

The 50th anniversary of the moon landings has brought a welter of reminiscences and Armstrong, while entertaining enough, does little to distinguish itself from the pack.

If it doesn’t hit the Top Gun: Maverick heights of legacy sequels, Jurassic World Dominion is scattershot but entertaining, delivering fun, familiar set pieces. Come for the delight in seeing Neill, Dern and Goldblum together again, stay for the bit where a bloke on a scooter gets eaten.

The Occupant is a slow burn of a thriller that never catches fire. Looking to skewer the pursuit of perfection during late capitalism, it misses both its satiric targets and a sense of kitsch fun.

It won’t win any awards for originality but Flight Risk is a fun, unpretentious, tight 91 minutes — especially if you’ve always jonesed to see Downton Abbey’s Lady Mary cream someone with a fire extinguisher.

If Never Look Away is no The Lives Of Others, it is also a cut above The Tourist. A strongly crafted, ambitious, occasionally absorbing dissection of a fascinating period in German culture, it is perhaps too middle-brow and broad for its own good.

A thriller in the key of Woody. The “same old, same old” but still entertaining.

If it cleaves too close to convention and doesn’t land the ending, Concrete Cowboy is a striking debut, celebrating a long-overlooked tradition of Black cowboys via visually powerful filmmaking. And Caleb McLaughlin is superb.

He Dreams Of Giants never grips like Lost In La Mancha but it is an entertaining look at Gilliam’s damned-fool idealistic crusade, and an interesting portrait of a filmmaker whose eyes are way bigger than his budget.

An interesting, challenging mess. The White Crow offers lots that’s impressive — Ivenko as Nureyev, the dance sequences, a knuckle-whitening last 20 minutes — but can’t render it in a dramatically engaging way.

H Is For Happiness has more on its mind than most kids’ flicks and delivers its ideas in an attractive, if familiar, package. And who can resist a film with a character called Douglas Benson From Another Dimension?

A kind of Italian Fitzcarraldo, Rose Island persuasively argues that dreamers can move mountains. It offers little in the way of surprises, but it’s hard not to be won over by its small-scale delights.

If it thematically bites off more than it can chew, Random Acts Of Violence is a full-on, visually arresting horror. What it lacks in chills, it makes up for in ambition and style.

If you hear the Rocky theme and think '118 118', you might wonder what all the fuss is about. For the rest of us, this is a reminder of why we fell in love with the character in the first place.

A return to form for indie darling Drake Doremus, who brings his nuance, sensitivities and homespun feel to a formulaic love-triangle set-up. Jamie Dornan, Sebastian Stan and especially Shailene Woodley make it very watchable.