Away combines Zilbalodis’ signature minimalist style with the structure of a classic survival story.

Drily narrated by Udo Kier, Hitler’s Hollywood is not a film about the rise of Nazism, nor even a linear history of the era’s cinema. Rather, it seeks to capture its spirit, interrogate its aesthetics and finally, to try to understand the insidious power of its propaganda.

Logan Lucky is satisfying on the simplest of levels, but if you peel back the layers it becomes evermore rewarding.

What Denis’ film is concerned with is the visceral bodily experience and the claustrophobia of living in the middle of the infinite. If outer space is a cold and vast external of nothingness, then there is also an interior space of bodies, living, writhing, and fluid.

While Davies vividly captures the period's austerity and Dickinson's despair at being misunderstood, there are a few too many scenes of repressed emotion followed by wild outbursts of grief.

For prickly cynicism and choppy one-liners, Nothing Sacred is simply unbeatable.

Youssef himself with his crooked smile and exuberant enthusiasm comes across as someone who in a normal state of affairs would be just another amiably slick joker. But in this context he takes on the bravery and the bearing of a hero.

Visually striking and audibly arresting from its opening number until the curtain comes down, Crock of Gold: A Few Rounds with Shane MacGowan is an affectionate paean to its irascible, impudent frontman.

Despite its slightly televisual veneer and sporadic bouts of mawkishness, as far as British costume dramas go, The Personal History of David Copperfield is better than the majority.

Chinonye Chukwu’s Clemency is a sombre, layered study of the human cost of capital punishment. One of this era’s most powerful actors, Alfre Woodard, leads with one of her best, most understated performances yet.

A chilling expose of state-sponsored cyber warfare and the enemy within.

As far as film theory goes, it’s hardly revolutionary, but as science fiction, Nope is smart and entertaining as we’ve come to expect from an increasingly captivating filmmaker.

It’s a picture so precariously balanced on the edge of poetry and sentiment, of defiance and self-pity.

Finding Dory is as entertaining, soul enriching and bittersweet as any Pixar production to date.

Granted, the gratuitous nature of the hyper-violence is not for everyone’s stomach, including mine in moments. What is undeniable is the rigour to which Kubrick conducted his creative team, actors and himself to offer a new approach to filmmaking. As Burgess wrote in the novel “The colours of the real world only seem really real when you watch them on a screen” wholeheartedly matches Kubrick’s graphically engaging ninth feature.

With its epic scale and global reach, Human Flow is a powerful testament to a shameful crime against humanity.

The deft and highly emotive handling of his condition and the wider ramifications of his story make The Dark Horse a lot more than merely the against-the-odds chess story that it may initially appear to be.

The Gift might not smash the boundaries of genre filmmaking but therein lies its appeal; a smart, well-made thriller that balances high-minded cinema with genre thrills.

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.

It’s impossible not to be beguiled by the sweetness of the comedy, the skill of the performers and sheer craft of the film. But hopefully next time out Kore-eda will use it in the service of a plot which is more believable.

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

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.

Polley is not especially subtle in her allegory, and nor does she need to be: the exceptionally well-made Women Talking gets to the point in its sheer, righteous invective.

Wetlands can be an unusually intriguing, funny and entertaining visual experience.

Sidestepping the question of whether or not shamanic methods 'work' in a scientific sense, Caraballo and Norzi directly depict the psychedelic experience of Ayahuasca itself by seamlessly blending dream and reality into a single stunning whole.

As we pass from one story to another the relentless savagery does get a bit grinding. In addition, at two hours in length, Szifron's film is perhaps one skit too long. Regardless, Wild Tales is an inventive, occasionally hysterical ride.

There's a measured, almost clinical precision to how On Body and Soul is shot that, while in keeping with Mária's great fragility and terrible need for affection, prevents the film from really delivering.

As Personal Shopper progresses a rather predictable series of twists almost drain the story of interest.