Run All Night's saving grace is, unsurprisingly, its lead actor who remains as watchable as ever despite the material he has to work with.

Love and war are a winning combination and Eduard Grau's cinematography, terrific performances all round, in particular the simmering chemistry between Schoenaerts and Williams, should ensure Suite Française's success as well as adding to Némirovsky’s fan base.

That the drama should hinge on a series of bizarre novelistic coincidences and the irrational dopiness of the characters with whom we're supposed to empathise drains the film of realism and sends us into Mills & Boon territory.

Winterbottom's The Face of an Angel makes for compelling viewing, painting an arresting character portrait even if it avoids the direct engagement with the original (and much-discussed) crime that some people may have been expecting.

Gerard Johnson's sophomore feature might look on the outset like the type of London crime thriller usually populated by Jason Statham, but it's more emotionally complex than its outset gives it credit for.

A postmodern experiment in both form and function, Life of Riley's rigidity can at times feel like its restricting its actors, leaving them unable to treads the boards with the same authority they would on the stage.

Araki does manage to give Kasischke's ending a subversive little twist, but the scenario has spawned numerous complex questions and while they may be given traction throughout, the rushed and forced conclusion leaves one simultaneously nonchalant and conflicted, much like Kat.

Longinotto's film shines a light on Brenda and her colleagues' important contribution to changing both the legal system's attitude to prostitution, and to the empowerment of women, who are shown that if they want to change their lives, there is someone there who can help them achieve it.

Most importantly, Appropriate Behaviour is funny, and not just sporadically entertaining, the film is a riotous series of mishaps from start to finish.

A desire to avoid sentimentality is admirable, yet Still Alice relies entirely on Moore's performance to mask its multitude of shortcomings.

The sub-par acting, overdramatic cinematography and horribly predictable shock value of the film makes it all the more difficult to sit through without laughing at the ludicrous production or checking a cellphone to gauge how much torture one is expected to sit through before it finally ends.

Its thematic textures run deep, but the picture retains real visceral force.

John Madden's The Second Best Exotic Marigold Hotel offers just as much joy, heart and chuckles as its hugely successful predecessor.

Despite falling into the occasional genre trap, every step of Catch Me Daddy points to a pair of filmmakers unafraid to make brave and interesting choices.

Schipper's script doesn't quite complement his technical prowess and once you peer behind the smoke and mirrors of the film's one-take gimmick the criminal-underworld lurking behind it feels trite and contrived.... Yet none of this can take away from its pure entertainment factor. An experience akin to a burst of pure adrenaline intravenously introduced to your bloodstream, Victoria remains one helluva ride.

Diary of a Chambermaid is beautifully shot and Jacquot's adaptation, co-scripted with Helene Zimmer, effectively conveys the casual violence of country life as well as the petty obsessions and miserliness of the bourgeoisie and the harsh treatment of their servants. The performances are also superb and Seydoux's stillness and quiet hauteur is particularly memorable.

Dancing in Jaffa is a wonderfully insightful documentary that explores a side of geopolitical tensions in a completely new light. Like Dulaine's teachings, the feeling of hope, the promise of light at the end of the tunnel, never diminishes.

Coherence is a debut of tremendous ambition and potential, yet sadly, despite some genuine moments of tension, the film ironically makes too many wrong turns and its convoluted themes fail to coalesce on a human level, tempering the initial intrigue and culminating in a plaintive sense of admiration, rather than enraptured adulation.

Neither player wins the audience's allegiance during the oft-strained game of seduction - much less convinces as a human being.

Pacing issues and clichéd dialogue between Jamie and Cathy, however, can make proceedings tedious at points. Fortunately, the spectacular acting from both Kendrick and Jordan more than make up for it. Their on screen chemistry is tepid and duets feel forced, but when each is on their own and belting out their various parts, there's a definite pull to each.

Seventh Son is indescribably disappointing because it could have been a refreshing treat for genre fans. After spending years in development, the final product is laughably abysmal, and perhaps worst of all, utterly forgettable upon viewing.

Blackhat is about the contraflow; it's a disruption in the new technocracy and a fly in the ointment of big budget Hollywood cinema.

Barnz's Cake could have been an intriguing look into the world of chronic pain and depression, but trying to be a jack-of-all-trades ruined the film and left it a master of none.

Treading the fine line between truth and fiction, Kumiko is more than just a homage to the Cohen brothers.

Maidan is a stunning piece of political cinema and a documentary of quietly moving power and beauty.

Predestination bends genre like it bends time. Simply put, it's a character study filtered through a science fiction lens.

With references to other sci-fi films, however, it's obvious Project Almanac is aware of its genre clichés, strengths, and faults, and that makes for a genuinely fun time for film buffs.

Despite Blanchett's resplendent performance and the comforting assurances that are inherent with any excursion into the reliably innocuous Disney universe it's tough to overlook the fact that there's something depressingly antiquated about Branagh's dazzling fairytale and its regressive sexual politics.

Loaded with unremarkable statements on moral resolve and brimming with arrogance, this desultory study of grief and the need for an artist to suffer in order to create great art is as hollow and throwaway as the redundant platitude it derives its name from.

While the first half has a brisk, upfront approach, the final hour is gobsmackingly dull - with emphasis on the smacking.

Haigh's latest is an impressive study of a couple haunted by their past. and a potent reminder both of the fragility of love and the need to keep communication open at all times.

The performances of both Moss and Waterston are tremendous, filling the empty spaces of the frame with a suffocating mist of pain and suffering.

At 82 minutes, this is a brisk but hugely powerful work that is cinema of the oppressed par excellence.

Each scene is presented like a taro card for the viewer to assign his or her own meaning. Occasionally this can lead to a profound and deeply personal connection to the film whilst at others it can feel like Malick is overreaching; with large swaths of the narrative washing over you like an agreeable summer's breeze.

The sheer joy and energy of the boys propels Trash and keeps us rooting for good over evil despite the contrived ending.

The dark recesses of a diseased mind may make the headline, but it is the indictment of far more widespread infection that rings out and is striking in its prescience.

There are some dumb thrills to be had but there is also the sense here of an ambition not quite realised.

It is, after all, the Baymax show - and he is cute, cuddly, comedy gold. Fortunately, although Big Hero 6 has various flaws, he's generally on hand to patch them.

Rife with the director's trademark stylistic preferences, this is a blast of an idiosyncratic comedy full of brilliant deadpan performances that offer a wickedly funny and poignant conclusion to the fable.

Kent, who gathers a cast of extremely bright young things, creates a drama that glides with sorrowful grace, pitching at a respectful and tear-inducing tone.

It makes for truly sobering viewing that cuts to the quick, exposing the atrocities the country's government so willingly commits.

While the film's mischievous narrative manipulation will inevitably irk some viewers, this beautifully rendered opportunity to view the world through the eyes of those who can no longer see is a smart and moving portrayal of living with an ocular condition.

Although A Most Violent Year may hit fever pitch when Abel engages in a nerve-wracking chase of a stolen tanker, it's in the murky uncertainties and frosty climate that it endures and excels.

Ex Machina exposes the insecurity of the male ego by showing his lust for creation as simply another strand in the patriarchal power game. The film's trajectory forms a thrilling, exciting corrective.

Despite a delicate handling of Kyle's internal struggles on home soil, deeper complexity appears to lie just out of frame throughout.

The Circle is an undiscovered gem that constantly delights with its unshowy transference of an inherited blood debt that we finally are 'beginning' to honour.

It’s meditative, beautiful, utterly fascinating, and one of the year’s finest documentary achievements.

Whilst the tone is off, and the talented cast wasted, Exodus is, at times highly entertaining, albeit unintentionally.

Choosing to focus more time on the uncoordinated instinctual trends of the subconscious rather than the moralising role of the cognisant, Enemy lacks the humanity to relate to on an emotional level, ultimately tempering the brooding anxiety and distilling our intrigue into mild curiosity towards the oblique narrative rather than fostering the original menace into something more substantial.

There will be those for whom Angel of Death provides precisely what they are after, but a couple of brief flashes of quality aren't capable of making the film anything close to creepy enough.

The running time (like all Lanzmann's films) is not oppressive but allows for Murmelstein and his interlocutor to talk through, around and inside the context and reality of pragmatism, egoism, heroism and evil.

Not only does Li'l Quinquin's procedural strand evoke countless laughs both macabre - the body that incites the story is found chopped up inside a cow - and slapstick, but also provides the context the exploration of deeper themes.

With Unbroken, Jolie fails to captures Zamperini's life, and she focuses too much of what he endured and how he survived such suffering, crafting a lacklustre and dull film about an incredibly remarkable man.

The Imitation Game's approach is successful as entertainment but not totally satisfactory in providing greater insight into its subject.

The jokes are far from fresh, yet the shock laughs are on a par with their inaugural outing and will undoubtedly appease fans of the original.

In only ever managing to skim the surface, the spirit of their crusade is never really evoked. What's left is ultimately a handsome, and at times heart-stopping voyage that never lives up to its classic forebears.

Looped around a paper-thin narrative that makes hardly any sense, Secret of the Tomb displays signs of fatigue right from the start.

As far as holiday films go this is perfect for lightening the holiday hangover but ultimately it's equal parts onerous and energetic, overreaching in its attempt not buckle under the weight of previous iterations.

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

Although the thriller like approach makes the unveiling of the story intermittently interesting, Human Capital stumbles on its blandly predictable, two dimensional characters and the implausible melodrama of its latter stages.

Gere does a fantastic job of embodying this broken man... It's an incredibly moving performance that lends Time Out of Mind emotional weight and anchors this contemplation of a man adrift in a world that doesn't appear to care.

Little Accidents may be a little too sober, lacking the occasional spark that would make it more than just a film about moral decision points - but it's a likable small-town drama all the same.

Certain sequences are handled exceptionally... but others feel overblown and some characters underwhelm. That’s not to say that Black Sea is not an enjoyable – and at times, enthralling – aquatic adventure, it just never quite thrills as much as it spills, and flounders during some of its more emotional beats.

It's a film that prompts an overwhelming emotional response as it weaves its dark magic.

Jackson's efforts have peaked and troughed, but this final chapter will undoubtedly satisfy fans, and kindle a sense of sadness as this hobbit's tale finally draws to a close.

Horrible Bosses 2 is by no means an atrocity, but it's tired and unexceptional, which is perhaps worse.

Devoid of cash-in cynicism, and full of belly-shaking humour, Paddington proves to be not just a wonderful contemporary rendition of the bear, but a polite hat-tip to the man who created him, paying homage in the best way possible: by bringing a gentle, slightly reserved, smile to audience faces.

It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.

A hilariously louche and ramshackle psychedelic noir, Inherent Vice is an audacious stylistic leap for Anderson, but his risks pay off beautifully. It's an amazing work, capturing the heady vibe of Thomas Pynchon's novel while stumbling into in the great cinematic lineage of California noir.

An exercise in assigning valuable historical context to scenes of brutality, Concerning Violence is a lesson in understanding a continuing colonial condition, the roots and complexities of which are often concealed and simplified by news coverage of poverty and conflict.

A harrowing but necessary insight into what the first Allied troops met as they stumbled upon the nightmare of the Holocaust.

Quickly paced and oozing with visual ingenuity, The King and the Mockingbird is an off-kilter but enormously enjoyable passion project whose stance as the vanguard of gorgeous, purely hand-drawn animation is as notable as its notorious production.

A largely groanworthy independent offering which is severely lacking in the pulpy charms it so desperately tries to emulate.

Collins' revolutionary-lite rhetoric has become unravelled by the commercially driven decision to split the final novel into two films - ultimately lessening the satirical bite and reverting to the very gender archetypes it originally sought to challenge.

Interstellar may not be perfect, but tent-pole filmmaking with such ambition and grandeur is always worth celebrating.

With some seriously fine performances and a simple but effective visual style that helps establish the film as a believable period piece, O'Connor's film is a solid adaptation of Michael Morpurgo's novel.

Force Majeure is a gripping and deftly observed drama that adds caustic condemnation through its embracing of humour.

Quieter moments do punctuate the tension - though the mood never sheds the lingering stench of impending death - and the characters are allowed time to breathe and inject a little colour to their long-standing relationships.

Girlhood's non-patronising and credible representation of class, race and gender is a rare and perceptive illustration of the intricacies of social inequality.

The film is a bravura depiction of the harsh brutalities of war that, though monotonous, is an entirely rousing entry in the annals of great WWII cinema.

The only thing Joffe's Before I Go to Sleep has going in its favour is that it's too brief to really lull you into slumber - despite its best efforts,

It's a feel good movie but also a refreshing blast from the past, expressing a nostalgia for a time when political quietism and apathy had not won the day and a Billy Bragg song made more than historical sense.

For Those in Peril isn't afraid to take risks and is full of ingenuity, but at its core is an emotive piece about overcoming a death in the family - something we can all surely associate with.

Though some artfulness is dredged up amongst the trash, there's plenty to perturb and perplex.

Witless and predictable, Plastic is about as disappointing as British cinema gets.

Short but sweet, Advanced Style goes some way towards reclaiming high fashion for all ages and backgrounds - not just the young, privileged and white.

Sachs and Love Is Strange co-writer Mauricio Zacharias craft an intergenerational love story believably told and immaculately acted.

This is a film of ideas, but it's a comedy first, and its boldness is that it doesn't aim to address a pro-choice or pro-life stance - it's about Donna just getting on with it all the same.

Its narrative might reach cliché towards the end, but powerful performances carry this fine fable of the American Dream lost in heartbreak.

When you're pining for Bill Paxton and the relative emotional realism of Twister, you know you're in trouble.

Described as a darkly comic horror movie, Cold Fish manages to defy the trade descriptions act on both fronts.

It is a demanding watch, but at the same time, Alonso's latest has a bizarre, beguiling quality which drifts towards the sublime even if it never quite gets to its destination.

Polsky keeps Red Army driving forward and the result is a film as fast-paced and bloody-minded as the sport it celebrates.

The film is both a biography of Cave's life and a beguiling vision of a musician considering the meaning of his own art.

When push comes to shove, A Walk Among the Tombstones carries its B-movie thrills with aplomb.

All of Gilliam's little details are fun and there are some laugh-out-loud lines, but the actual story itself is never compelling and simply doesn't zip as it should.

Baumbach is never likely to make a film that doesn't engage with interesting issue, but on this occasion he's made something smart and relevant that really brings the funny, arguably making this his most widely appealing film to date.

With so many elements working on such a high plain, it is ultimately a shame that The Theory of Everything remains a formulaic biopic with a scope far narrower than its subject. Still, it broaches universal themes through the story of a man who studies the universe, and succeeds in being a life and love-affirming along the way.