Nikki Baughan

Director Baltasar Kormákur and his actors err on the side of restraint, delivering a balanced, absorbing human drama.

The result is a vibrant, infectious and surprisingly hopeful portrait of a divided America, fuelled not by idealism but dogged determination.

As Gena attempts to live an authentic life in a place which is dangerously prejudiced against her, so Queendom takes shape as a damning portrait of state-sanctioned intolerance and suppression.

Nastase is a compelling, complex character.

While Wilson stays resolutely — and perhaps for some frustratingly — neutral about whether that link is forged by lived experience or spiritual ability, her film can be read as a celebration of human empathy and the power of shared connection.

Ultimately, Ride Or Die is such a relentless bombardment of bombastic effects whipped up by a pounding soundtrack, rapid-fire editing and frenzied camerawork — which, at times, emulates a first-person video game — that it becomes exhausting, rather than exhilarating.

Writer/director Corey Sherman’s understated screenplay, inspired by his own experiences as a young gay man, favours nuanced realism over high drama.

This earnest drama wears its politics very much on its sleeve — and makes no apologies for doing so — although its intimate take on an overwhelming moment in history can make for some compelling drama.

Nicole, Ruby and Elise are powerfully defiant just by refusing to be intimidated or shaped by patriarchal forces: an idea which rises above the outlandish events unfolding on screen to strike a universal, cathartic chord.

While any narrative nuance is left in the dust by the film’s singular focus on bloody retribution at all costs, it is one hell of a ride.

This romcom offers a heady slice of appealing escapism fuelled by the chemistry between its two leads.

While a committed Chastain and Hathaway do their utmost to inject some gravitas into proceedings there are some moments which border on the absurd, particularly as it reaches its frenzied climax. Still, there is some fun to be found in the arch campness of it all and, perhaps unsurprisingly, the film looks gorgeous.

The result is a clunky, overwrought thriller which leans heavily on cliche.

Any dramatic convenience can be forgiven as the platonic chemistry between Ferreira and Leguizamo feels natural, empathetic and genuine. And as they both begin to let down their guards, it’s a pleasure to watch them; so much so, in fact, that it doesn’t really matter that the characters in their orbit are far less vividly sketched.

Ariane Louis-Seize’s debut feature plays like a coming-of-age genre mash-up, and features a tortured blood-sucker protagonist reminiscent of Only Lovers Left Alive, A Girl Walks Home Alone At Night or even The Hunger, although it is narratively and stylistically striking enough to make its own impact.

Taking pleasure in subverting romcom tropes and boasting a satisfying attention to detail, Timestalker is a showcase for Lowe’s considerable talents on both sides of the camera.

In its refreshingly frank look at the end of life, Much Ado About Dying becomes a thought-provoking study of what it means to live.

Eternal You acts like a modern day Wizard Of Oz as it lifts the curtain on the intricate processes of bringing the dead to life.

This tale of a bestselling spy novelist who finds herself embroiled in real life espionage has some fun moments, an impressive cast and explosive set pieces (not to mention some strong echoes of classic eighties adventure series Romancing The Stone) but, in its attempts to keep audiences guessing, ties itself up in knots.

Despite the sentimental score, which unnecessarily ramps up the emotion, Daughters is honest about the fact that this programme is not a magic bullet, just one important step on the road to change.

There’s a lightness of touch to the performances, with Silver encouraging his actors to improvise on-set. Events may have made Ben something of a sadsack, but Schwartzman ensures there is still a glimmer in his eye, a hint that his lust for life is simply dormant.

This charming story . . . has a deft, audience-friendly lightness of touch, focusing on Armenia’s people rather than its difficult history. Nevertheless, it firmly makes its points about displacement, cultural cleansing and the difficulties of returning home.

The chemistry between these three is the film’s greatest strength, and Good Grief plays best as a love story between friends.

This engaging, eye-opening documentary follows Gordon over six years, as a book deal forces her to give up her anonymity and she further explores her own relationships with food, her family and society at large.

Beneath all of the visual razzle-dazzle and quick-firing gags, though, Chicken Run: Dawn Of The Nugget is, fundamentally, a familiar, well-executed coming-of-age narrative, in which a youngster is compelled to spread their wings, and parents must learn to let them fly.

While the subtle world-building may be more consistently impressive than the familiar narrative, The Kitchen nevertheless makes its points with style.

With the film reminding us that the American system isn’t only failing people with diabetes, the battle for affordable healthcare rages on.

Exorcist: Believer has none of the creeping dread of the original.