James Mottram

Respectable. Boyega adds real bounce and DeKnight delivers spectacle, even if the plot doesn’t strain too far from the original’s crash-bang formula.

One of the strangest films you’ll see this (or any) year, it unsettles, bores, elates and amuses in equal measure. Not for everyone, but there’s plenty to chew on.

Devised by Brutalist composer Daniel Blumberg, the songs are spirited, and Mamma Mia! star Seyfried invests fully. But with characters often reduced to making declamatory statements, it becomes an increasingly vexing exercise.

The final act doesn't quite pay off, with characters' motives left frustratingly opaque, but the film is blessed with cast-iron performances, especially from Graham and Boon.

Like an inoffensive light ale, the result slips down more pleasantly than you might expect.

Not the promised insider’s peek but Assayas and Binoche are still a potent combo, nailing the fragility of an actress facing the ageing process.

Assured, adult filmmaking from a writer/director who knows her way around the ups and downs of relationships.

While director Ceyda Torun lets the focus meander too much, it’ll leave you, ahem, feline good.

Like all of Bay’s work, it’s over-the-top, brash and exhausting to watch. But like the lifestyle its characters aspire to, there’s an allure too.

Quillévéré’s elliptical plot isn’t always spot-on, skipping years to a near maddening degree. But treading a fine line between poetry and realism, it’s still heartfelt and harrowing.

An intriguing insight into Lynch’s genius, intimately crafted and leaving you wanting more.

Certainly, it’s not for those looking for fist-pumping sporting triumphalism. But in this age of franchise vapidity, it’s still a film worth grappling with.

While there’s sweetness, the big, sweeping emotions you hope for never quite arrive.

What emerges is a touching study (in more ways than one) of the trials, terrors and triumphs of living with physical disability.

It’s a good exercise for Cooper in creating something more low-key, even if it doesn’t quite come off. Still, in the days where adult-skewing dramas are becoming an endangered species in movie theatres, this should be applauded for attempting the subject of divorce with a level head.

As ever, Cronenberg leaves you with much to chew on, but dramatically The Shrouds feels rather inert, as if it can’t get out of second gear

Two fine performances - particularly from an unhinged Winstead - almost elevate Smashed to greatness. But an under-worked script leaves you feeling groggy and bleary-eyed by the end.

Despite winning work from the lead, it’s a tame, feelgood effort from writer-director Hannes Holm. Academy bait.

With Hill on co-scripting duties with Scott Pilgrim scribe Michael Bacall, 21 Jump Street was always going to live or die by its gags. Fortunately, it boasts that sweet-yet-dirty comedy that Hill revels in.

It’s absorbing to a point, but adds little to what’s gone before.

It’s wildly melodramatic, typified by the ear-assaulting score. But there’s something compelling about Dolan’s supreme self-confidence, even when misplaced. He takes risks – and that’s attractive.

More Blue Steel than Magnum, this is a perfectly serviceable sequel, but dogged by repetition, it lacks the original's speed and sizzle.

Is it scary? Rarely, to be honest. But it knows how to twist the knife, at least.

Say what you like about director Justin Lin’s lack of subtlety (or understanding of the laws of physics), but he knows how to kick-start an action movie.

With recriminations turning to compassion, the film sings when these French titans share the screen, Deneuve’s loose cannon a mixture of hedonism and terror. If only the other scenes were as compelling.

Uplifting it isn’t, but there’s poetry to be found in these desperate lives, and Riccobono never judges or sensationalises his subjects. Sensitive, if slightly unfocused.

It would be unfair to claim this closing film concludes on a whimper. But neither is it quite the grand finale the title would have us believe. More like a pleasant stroll with characters you know and love.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.