Sid and Nancy rages with a vitriolic fury which eventually becomes tiresome.

Oldroyd has made a film here that's incredibly tied to its nineteenth century setting, yet modern at the same time in the way it addresses femininity - more importantly, the power women have no matter how they're viewed by society or expected to behave by their male counterparts.

Guardians of the Galaxy is undoubtedly a flashy space opera, but if you are on board with that, it's a resounding success that takes a seat at Marvel's top table and suggests there could still be life after The Avengers.

John Frankenheimer’s 1962 film is a stately and moving depiction of the man’s capacity for dignity and improvement.

Kreutzer employs a variety of subtle anachronisms – servants wearing modern glasses, a concrete wall here and there – to allow herself and Krieps the freedom to introduce a modern sensibility that sticks a middle finger up at the polished production design of most films of this genre as casually as Elisabeth does at the decorum of her courtly life.

The rage that fuels Singleton's film is harnessed to great effect, he shows the reality, and while it builds to a melodramatic conclusion, it depicts life at its most raw.

Most importantly, Red Rocket is a humane comedy, a portrait of romantic douchebaggery and an America of flailing last chances.

Their Finest by no means reinvents the wheel but in the hands of Scherfig - who previously directed An Education - it looks wonderful, has enough substance to back up its gleaming charm and is a very enjoyable period piece that wears its heart and intentions firmly on its well starched sleeve.

Uneven, convoluted and laden with far too many twists and turns Creepy sadly struggles to balance both terror and suspense, with any intrigue dissipating long before the film's secrets are eventually unravelled.

[Bahrani's] created a complex and thoughtful political drama with the speed and tension of a good thriller.

Not only does it represent some of Sorkin’s best work for years, but in this time of civil unrest and with the dark clouds of November nearly upon is, this reminder of the right to resist the state could not be timelier.

In all this, there is an implicit if undeveloped criticism of the way that power and capital are so often the spoils of posturing masculine insecurity.

The period atmosphere isn't alive with bold ideas as much as decay.

This western-tinged, visceral Icelandic drama deserves as large an audience as possible.

Nathaniel Kahn’s The Price of Everything certainly doesn’t hold back in its skewering of a contemporary art world defined far more by financial gain and status seeking than a genuine love of beauty.

Calibre is a thriller, but one that’s rooted in reality rather than the fantastical or absurd; edgy and tragic.

The Temple’s antics are a hilarious middle finger to the establishment, while, their stand against hypocrisy and the Evangelical Right’s blatantly theocratic mission to take control of the levers of power feels vital.

A dark and slightly hysterical portrait of fundamentalist fever.

A stylish and fitfully engaging crime thriller with a great concept, let down by incoherent plotting and impenetrable characterisation.

The slow burn lead-up may not be to all tastes, but if you can tune in to its broadcast frequency Midnight Special will shine its light on you too.

Stevens is excellent both as the cordial house guest and the brooding time- bomb ever present beneath his earnest veneer.

The editing might be unexpected, unconventional, a bit annoying, but it is also very smart. Creating as it does a vital tension between plot and theme, pushing the two characters unrelentingly towards an event horizon and black hole denouement.

The Wonders is a complex and nuanced illustration of a family trying to live by their own standards - whilst only partly failing. Rohrwacher's vision is tactful and restrained, with so much we don't ever know. The characters' histories are there to be guessed rather than spelled out.

Wonder Woman is not a great film, nor is it the feminist glass ceiling-smasher that many had hoped for. But after the offensively stupid Batman v Superman: Dawn of Justice and Suicide Squad, Wonder Woman feels nothing short of revelatory.

While not amongst the greater, more celebrated titles in Billy Wilder’s acclaimed filmography, his big screen adaptation of Agatha Christie’s Witness for the Prosecution boasts a fine, scenery-chewing performance by Charles Laughton, here playing a cantankerous barrister defending a murder suspect.

Exploring the powerlessness an exasperated Diana (Kristen Stewart) must confront when faced with Windsor tradition, expectation and hypocrisy, a single weekend in the country is the epicentre of a far broader story, the shockwaves of which ripple through space, time, mind and soul.

Everything seems designed to disturb or perhaps infuriate the viewer.

Though there's an awful lot to be admired - not least an enormously impressive soundscape - The Revenant ultimately lacks the nerve-jangling thrills or the spiritual resonance that it strives for.