Matthew Anderson

A dry and surprisingly dull film, it is a comedy which doesn't induce a single laugh and a drama that doesn't engage emotionally or pull on the heartstrings at all.

From its first moments, The Red Turtle is a captivating ultra-sensory experience; sounds are crisp and images are hand-drawn perfection.

The pint-sized simplicity of this acutely well told and acted tale should not be underestimated.

The superb editing of news footage, the home video recording of the King beating and a dizzying amount of imagery from the heart of darkness during the riots throws us into the unfolding disturbances with minute-by-minute immediacy.

Their Finest by no means reinvents the wheel but in the hands of Scherfig - who previously directed An Education - it looks wonderful, has enough substance to back up its gleaming charm and is a very enjoyable period piece that wears its heart and intentions firmly on its well starched sleeve.

Though it may tell of one family's story in the late nineteenth century, and the superb costume and period attention to detail are firmly rooted in its time and place, the case that Tommy's Honour makes for breaking tradition, being true to oneself and challenging authority establishes thematic ties that are timeless.

A far darker side of London is painted in bleakly realistic tones in City of Tiny Lights but, like its protagonist, Travis' film shoots from the hip, has a glint in its eye and packs a mean punch.

Urging us to grin in the face of impending death, Truman handles grim material with grace, humour and the honesty of two old friends who tell it like it is.

A documentary that poses more questions that it answers can intrigue and beguile but there are vast areas in We Are X left crying out for further exploration.

The Fits is slimmed down but Holmer achieves a great deal with economical, nuanced storytelling where no image or sound is without meaning.

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.