Tom Huddleston

The supporting cast is flawless, with a special mention owed to Brad Dourif as poor, doomed Billy Bibbit. But the script lacks the woozy, otherworldly subtlety of Kesey’s book, relying instead on pop psychology and finger-pointing: once again, it turns out women are to blame for pretty much everything.

For all its humanistic warmth and undoubted charm, Short Term 12 just never quite rings true.

It’s hard to say exactly what’s at fault here: the performances are flawless – Carell fully justifies his unlikely casting, while Ruffalo is as dependable as ever – and the script is astute, intimate and at times shocking. But there’s just no real life in the film.

If Del Toro is pitching for an audience of 12-year-old boys (and we do mean boys: this is old-school macho), he’s done a bang-up job. Still, there are times when Pacific Rim could be the work of any jobbing Hollywood director – the warmth and idiosyncracy that characterises Del Toro’s finest work, from Pan’s Labyrinth to Hellboy 2, is absent.

It’s disappointing when Starred Up begins to lapse into soapy cliché.

Eddie the Eagle may suffice for a brainless Friday night, but an honest account would have been a lot more memorable.

Lifeforce is a near-impossible film to review, at once indescribably awful and hugely, brilliantly entertaining.

There’s only so many times an audience will fall for the same manipulative editing tricks. Still, with fine performances and a rich sense of place, this is a promising start.

What Welcome to Leith does very well is dig deep and expose Cobb – and by extension the entire American neo-Nazi movement – as weak, confused and desperate, using a dying ideology as a way to feel less alone in the world.

The result is a film that starts with a bang and ends with a shrug, but keeps us entertained throughout.

Writer-director Pablo Fendrik takes the whole thing terribly seriously, punctuating the action with ponderous slo-mo and laughably pompous discussions about Bernal’s spirit jaguar.

The ever-present air of madcap, goofball insanity carries it through. A seriously guilty pleasure.

A film that never feels remotely real, content to wallow in dead-rock-star mythology and tedious druggie indulgences.

There's a gripping, dark, truly monstrous film lurking in here somewhere, but Bayona seems hell-bent on keeping it at bay.

There are few surprises in Creepy. With the exception of a bleak, pointed ending, it all plays out as you’d expect. That’s not necessarily a criticism – it’s fun to watch the pieces click into place, and the film is never less than slick, well-acted and nice looking.

There’s nothing wildly original here, but it’s carried off with charm and wit, and two very enjoyable central performances.

In the plus column there’s a small handful of decent gags, a clutch of welcome cameos (Eddie Izzard, notably) and at 85 minutes it doesn’t outstay its welcome. There’s also a fairly solid moral about free will and personal desire. But nothing else here really clicks.

This is a deeply silly, extremely noisy and sometimes impenetrable action movie that’s drowning in CGI, wild overacting and mullets. And it’s enormously entertaining.

As a procedural study, Night Moves is undeniably effective: The buildup is slow, painstaking and intense, the fallout inevitable but still shocking...But the soul is somehow missing.

Rogue Nation is an uneven film.

The photography is starkly lovely, the slow drip of information is smartly handled and the central performances are appealingly ambiguous.

There’s wit, integrity and insight here, but it cries out for a lighter touch.

Ghost Protocol plays it strictly by the book: the characters are bland, the plot is over-familiar and the action sequences are resolutely old school. But animator Bird relishes the chance to play with real people.

75 minutes isn’t really long enough to fully examine the Sky Ladder project, let alone an incident-packed artistic career. Still, as an introduction, this is entirely serviceable.

Kooler is a very likeable lead, and Michal’s battles – with loneliness, ageing, family, religious doubt and her own indecision – are smartly, sympathetically sketched by writer-director Rama Burshtein.

The film’s blanket refusal to question its subject feels not only cowardly, but antithetical.

There’s a lack of subtlety or surprise which serves the story poorly... That said, it’s a thoughtful, timely, often quietly captivating drama.

The film can feel truncated, as if only a longer film or TV series could do proper justice to the details of the story. But it’s a sensitive and moving tale nonetheless.