There are numerous delights for the patient and the two leads give prize-worthy performances but at just under three hours this is one drawn-out gag that almost outstays its welcome.

It's as if Wiseman has taken his cue from the old style librarians and has wanted to give a portrait of a community but without the inevitable noise that goes with it, issuing one long "shhhhhhhhh".

Two Days, One Night is well made, and Cotillard and the rest of the cast give assured performances, but its optimism is desperate. By no means the Dardennes' best work, one wonders if they shouldn't perhaps stray outside of their comfort zone.

It’s a pity that on this occasion Scorsese makes an admirable and fine film, but alas not a great one.

There is much to like about Elle, first and foremost a witty and bold performance from Huppert and the generally seasoned ensemble.

Taking Eastern watercolours as inspiration, the aesthetic is impressionistic and painterly with a fluidity that imbues the piece with an intrinsic magic.

Conceptually, Azor, is brilliant and its dreamlike editing that joins one meeting to the next with little connective tissue is often intriguing. But as a viewing experience, it is roundly obtuse with a repetitious, meandering narrative.

Bradley Cooper’s soulful exploration of the depredations of fame is an effective melodrama boasting genuine star turns from himself and Lady Gaga.

To Kill a Mockingbird is by no means as irreproachable as our memories would lead us to believe but it’s still a gripping yarn and well worth revisiting.

For the occasional lapse...there is often a striking image or sly moment of humour to take away and overall, the film rewards persistence.

The film lacks the crackle of Grant’s later masterpieces yet there remains a great deal to enjoy here with an ending that surprises with its tenderness, not-so-subtle eroticism and visual wit.

This is a confident dramatic voice emerging and it will be interesting to see what comes next.

Irony has a wearying effect after a while, ultimately leading to a flattening of the ethical landscape so that by the end of it we can’t help but feel they’re all as bad as each other.

Throughout, each of Ilo Ilo's performers give wonderfully naturalistic turns, providing the entire film with a heartening authenticity.

Ash Is Purest White is a fascinating chapter in Jia’s ongoing chronicle of ordinary lives affected by unprecedented change in China.

Although not quite the bounty of its title, The Treasure rewards the patient viewer with a quietly enchanting drama.

For all its heart and warmth, the desire to offer as many contrasting viewpoints as possible leads to a sense that the biggest elephant in the room isn’t really being dealt with. Support the Girls, ultimately, is a film about an industry built on sexism, that prefers not to dwell too long on the question of sexism itself.

The revelations and images contained within are individually resonant and telling of a wider picture, but there’s a sense that Wang, or perhaps her financiers, are cautious of pushing too far. Unfortunately, this winds up leaving One Child Nation a muddle of confused half-messages which reach for and fall slightly short of an admirable goal.

As this semi-autobiographical film plods on, there is an unshakeable sense that in reaching for the stars, The Fabelmans instead lands somewhere more mediocre and disappointing.

There are few documentaries that feel like wholesome family films (20 Feet From Stardom is a rare example) but this is one. Overly reverential perhaps, but Won’t You Be My Neighbor? is an uncynical tonic for a very cynical age.

Booksmart has its undeniably crowd-pleasing moments, but it doesn’t stray as far from the status quo of the genre as it possibly could have.

Campillo doesn't edit for our comfort and we feel both the tragedy and the boredom of death.

Some of it is funny. Some of it is moving. More of it is plain dull.

De Palma is a timely reminder of one of cinema's most infuriating yet entertaining characters.

What lets the film down somewhat is an issue that has dogged much of the studio’s recent middling efforts, namely an inert narrative and a wishy-washy message that ultimately doesn’t have the courage of its own convictions.

A clever, daring and unusual piece of cinema which fans of thinking outside the box will appreciate.

'71 is a pulse-raising actioner that stumbles a little in navigating the typically hazardous political terrain.

Cosmatos’ Mandy matches Cage grimace for grimace and achieves, at times, a transcendent midnight madness.