Matthew Anderson

Amongst the swearing, past gripes and resentments exhibited by wearying central players there is humour, compassion and a great deal more heart and soul than we have come to expect from the rote, by-the-numbers dialogue of Marvels past.

There is something reassuring and enjoyable to the familiarity of such a joyous, uplifting and uproariously funny affair and it must be said that the vocal talents of those on show is quite remarkable

Its lasting resonance and wider humanitarian message is diluted by a second half that drags it down.

Watching the goofy boy develop into a man, we share in his experiences and root for him each step of the way.

Fares' film doesn't ever quite hit the same high-octane levels as its petrol head subjects but it is nevertheless a very unusual and encouraging representation of social change, defiance and self-determination.

A chilling expose of state-sponsored cyber warfare and the enemy within.

This is a punchy and promising debut from Pront.

[Miles Teller] does dogged, unerring determination very well and makes Younger's film an engaging rollercoaster ride.

A United Kingdom is a solid, competently made and gorgeously photographed film, but its exploration of complex issues - race, gender, politics and affairs of state - feels rather safe throughout, their full impact and import somewhat dialled back.

Nair gets the very finest from her cast and although like Phiona we can see a number of moves ahead, the director's graceful, heartfelt retelling of this miraculous story makes Queen of Katwe a wondrously uplifting film.

There's something deeply unsettling about the unstoppable, magma-like flow of Werner Herzog's Into the Inferno.

The Ivory Game depicts humankind both at its deplorable worst and at its best. Its burning images will sear through conscience and consciousness but there is faint hope in the lasting hoof-print they leave.

Beneath the veneer of fake tan, rippling muscles and feigned ecstasy lies a striking amount of heart, soul and sincerity of emotion.

The Girl on the Train engages more than it rivets and brings goosebumps to skin more than chilling to the bone.

Southside with You doesn't leave a lasting impact because it plays all elements altogether too safe.

Sticking to documentary form for the most part with key talking heads, a barrage of headlines and ample news broadcasts, the co-directors are not afraid to shock with gruesome crime scene footage.

By using the tropes of the coming-of-ager - a rebellious teen and the strained relationship with her mother - as the central touchstone, Bouzid subtly, yet efficiently paints the nascent days of Tunisia's Jasmine Revolution as a force to be reckoned with.

Up for Love lacks tact and substance but its leads make it a watchable, albeit bite-size, jaunt.

Respect and admiration for her work and carefree nature is in plentiful supply but this is not an exclusively glowing retrospective.

The Violators bravely paints a vicious circle without pulling any punches and shows real promise in a new female British filmmaker.

Riccobono neither condemns nor sympathises, maintaining a commendable neutrality, as his subjects frank testimony paves the way to jail cells.

Russell is the magnetic epicentre of a much broader contemplation on the nature of being, creation and self-truth at a time of peace and love.

The pacing is methodical but breakthroughs in the case and anxious moments where all is feared lost generate real tension.

Set in early 1970s Chile, and prefaced with archival footage of the final days of Salvador Allende's presidency, The Colony paddles indecisively in the unspeakable ills of the Pinochet era without ever really taking the plunge.

Finding Dory is as entertaining, soul enriching and bittersweet as any Pixar production to date.

Directed by Jon Cassar, Forsaken is a humdrum Western which never demonstrates even the suggestion of a trick up its sleeve.

Structured in a series of chapters, there is an element of picturebook, even fairytale, enchantment to Hunt for the Wilderpeople. It is easy to be swept up in the adventure of it all, and the comedy and light-heartedness make it eminently watchable but as one narrow escape leads to another, and another, things start to feel a little thin.

Sachs' extraordinarily humane knack for emotional restraint echoes throughout Little Men. And it is all the more profound for it.

It is a kooky, touching, continually droll comedy drama that treads simultaneously familiar and unusual ground in its exploration of grieving for a sibling, more specifically a twin.

Thompson's strikingly assured and unflinching debut pumps new life into a well-trodden genre.

Alice Through The Looking Glass is at its middling best when Wasikowska is at the reins.

The Nice Guys could well mark the beginning of a beautiful friendship. Black has really thrown the kitchen sink at his latest project and it all works tremendously. Let's hope there's more to come.

It is the masterful ways in which Altman weaves doubt, hard truths, and holds up a mirror to the hypocrisies of contemporary America, that elevates his 1975 film to be one of the decade’s greatest cinematic achievements.

As though North by Northwest boasts some of Hitchcock’s most ambitious and memorable set pieces it is also one his most terrifically funny, playful moving pictures, cutting just the right line between suspense and belly laughs.

Sid and Nancy rages with a vitriolic fury which eventually becomes tiresome.