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".

The ingredients of a quality film are all here. It just could have done with being a bit shorter and a bit snappier.

The Work is a rousing, arresting and ultimately cathartic call-to-arms for the power and value of rehabilitation.

Three Billboards Outside Ebbing, Missouri is a multi-layered piece with such swathes of great dialogue that it will no doubt reward - if not demand - multiple viewings. It's also another item of evidence pointing toward a filmmaker getting into his stride.

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

Yes, it is pretentious. But pretension is also about ambition and this is cinema that is willing to kick out the lights.

Clooney only shows flashes of comic moxy, and everything is drowned in a now tiresome fetishizing of the 1950s aesthetic, with gizmos and supermarkets, office furniture and hairdos glossily remade.

It's witty, smart and brilliantly played, plumbing the sub-aqueous depths of our psyches, our histories and desires.

This is Payne's most political film since Election and refreshingly eschews the gentle social realism of Sideways and Nebraska for something much more subversive. The pointillist normalcy of those films is used well as a context in which to embed the craziness of his Kaufmanesque high concept.

It's an offbeat narrative, and it demands patience, but it's so worth the wait in the final moments of the film, proving to be a graceful examination of love found and lost.

Inspirational and moving, Step is full of heart, with a kicking beat: highly recommended.

A little overlong and lacking the thematic clout to justify its knotty plot, Atomic Blonde is nevertheless an exhilarating, visceral actioner, more than making up for its flaws with a surfeit of verve and style.

Escalante is a master filmmaker when it comes to creating atmosphere.

There are the occasional moments when Bushwick lets on that it knows that this is all truly awful.

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

Cruise rides the Breaking Bad and Narcos train, only not as well as either.

In its determined avoidance of sensationalism, it finds itself stranded in an empty space so understated, it is genuinely difficult to understand what, if anything, it is saying.

Anderson's comic slasher doesn't quite earn its wings as a potential future classic, nevertheless it's very funny and another welcome indicator that antipodean genre cinema is where it's at right now.

Taking place over the course of a little less than 24 hours, it is day-in-the-life cinema at its most pertinent.

Featuring a breakthrough lead turn from Oscar Isaac as a struggling folk singer, the Coens have returned to the high watermark of such classic efforts as Miller's Crossing and Barton Fink.

Foregoing breadth in favour of depth, War is at its core a character study disguised as a science fiction epic.

Benefiting from the matter-of-fact, unerring defiance exhibited by the group, Heineman is unflinching in representing the brutality perpetrated by ISIS as well as their own very savvy use of the media as a tool for recruitment and influence.

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

Overall the film's trashy pleasures just about keep it afloat.

It won't be for everyone by any means, but Captain Underpants: The First Movie would be easy to overlook as another kids-only waste of money. But that's not the case. The film subverts this every step of the way and constantly turns in new, unexpected directions in order to surprise and entertain its audience from the start to the end.

Its spontaneity and uncertain evolution are both gripping and slightly terrifying given that what becomes a quest for truth could just as likely see its subjects killed or imprisoned as set free.

There is no soul, and no heart to the story. A good sci-fi is never merely about the effects, it's about the plot, character and thoughts they bring to life, all of which Valerian lacks in abundance.

Killing Ground isn't terrible. Far from it, in fact. It uses the non-linear narrative structure well to toy with the audience and create a sense of mystery around the duel arcs of the characters involved.