Civil War, though imperfect, is a biting, satirical blockbuster that is as much about the alienation of modern media as it is about imagining a second American Civil War.

This is vital filmmaking; Blindspotting is undoubtedly part of a new moment in American cinema and is a fierce, complex satire in it own right.

Heineman himself has said he feels an “enormous kinship” with Colvin’s commitment to revealing the human cost of conflict. And that, despite all her personal flaws, is what makes Colvin’s story so profoundly moving.

Perhaps the greatest shock is how decent the boys turn out to be. They're sincere, articulate, yet self-aware: they have been shaped, not ruined, by their experience.

Ginghină makes for a wonderfully eccentric subject, and the ardour with which he elucidates the intricacies of his project to Porumboiu is both hilarious and tragic.

The topic of who can participate in the arts often ignores society’s racial prejudices and class assumptions, thankfully The Plagiarists’ perfectly judged mimicry of independent cinema illustrates the profound effect a lack of diversity has on the type of art that gets made.

The film’s strongest element and most necessary comes with Luca Marinelli’s performance.

There's a certain bloatedness to much of the first half, while the film in general lacks the balance of humour to hard-hitting found in Shane Black's superb Iron Man 3 and/or Whedon's two Avengers outings.

Nina Forever is a brilliant, intelligent and emotionally rewarding debut feature.

Films such as the exquisite Funny Face, where all the ingredients came together in picture perfect composition, allows us to share, even if only briefly, in this land of fantasy and make-believe.

Diana Kennedy: Nothing Fancy is an affectionate and reverential look at a remarkable figure and a testament to her achievements within the Mexican culinary landscape.

MacDonald’s Whitney is compellingly told with compassion and style, showing just how great a gift Houston was blessed with, but also the demons that pursued her all her life to its tragic end.

Impressive for the most part without being awe-inspiring, the film's two timelines converge in a much more satisfying and thrilling ways towards the end, where the emotional stakes are considerably upped.

Land of Mine serves as a poignant reminder that revenge destroys more than it satisfies and that compassion aids the healing process.

It's as if the writers have set out with the most basic plot imaginable, hoping to cover the cracks with distractions and colourful set pieces. It works, but the lack of depth and emotional heart is noticeable when the film hits some of its less than spectacular moments.

Greene seeks a deeper truth amidst the fragments of arch drama and investigatory reportage; artifice and reality bleed into one another with ease, the transitions smoothed by Sean Price Williams' photography.

For all of the perfection of the period-detail browns and greys, Afterimage could have done with a touch more colour.

Elevating silliness to the level of profundity, House doesn’t so much serve its swirling madness to you as it dunks your head into a cauldron full of it.

Schumer is a gifted comedienne and shines brightly when left to run riot, make former wrestlers cry and stick up for modern-day women (for most of the time). It's just a shame it doesn't stick to its guns as it could have really been something.

Swinton's intoxicating lead turn and Potter's aesthetic eye make up for the majority of the film's failings and flaws.

Respect and admiration for her work and carefree nature is in plentiful supply but this is not an exclusively glowing retrospective.

Fiennes doesn’t do anything radical in her handling of the footage or the approach, but with a subject like Grace Jones a simple approach is still spellbinding.

A lovingly crafted and well observed story about adolescent self discovery – and to this day remains one of the most remarkable films produced by Studio Ghibli.

Okja is exuberant and wild filmmaking.

This is political cinema at its best; intelligent, thought-provoking and utterly absorbing. Bakri is a star in the making and delivers an electrifying performance.

Behind the visuals rests an absorbing performance from James Wilby as the titular character.

Among all the violence, body horror and Giger-esque sexuality, Titane’s most surprising quality is its tenderness.

It’s often very amusing, sometime surreal, and the script is chock-full of some wonderful zingers, delivered with razor-sharp timing by the magnificent Stephens.