It's all raucous, good natured fun and the laughs come thick and fast.

Set in early 1970s Chile, and prefaced with archival footage of the final days of Salvador Allende's presidency, The Colony paddles indecisively in the unspeakable ills of the Pinochet era without ever really taking the plunge.

It's endearing, but unlikely to convert those that have previously resisted the director's charms.

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

Directed by Jon Cassar, Forsaken is a humdrum Western which never demonstrates even the suggestion of a trick up its sleeve.

Structured in a series of chapters, there is an element of picturebook, even fairytale, enchantment to Hunt for the Wilderpeople. It is easy to be swept up in the adventure of it all, and the comedy and light-heartedness make it eminently watchable but as one narrow escape leads to another, and another, things start to feel a little thin.

Sachs' extraordinarily humane knack for emotional restraint echoes throughout Little Men. And it is all the more profound for it.

It is a kooky, touching, continually droll comedy drama that treads simultaneously familiar and unusual ground in its exploration of grieving for a sibling, more specifically a twin.

Heartstrings, prepared to be tugged at vigorously. Ma Ma is a quintessential tear-jerking melodrama that leans into its genre conventions heavily while still keeping an airy beauty to its characters and vision.

Scafaria is writing from personal experience and it shows in some of the understated but utterly credible scenes which illuminate the grieving process.

The performances are fine across the board and Nørgaard keeps things moving efficiently, but this is stylish but televisual fare, ram-packed with familiar hardboiled and shopworn tropes.

As an entry into the Scandi police procedural genre, The Keeper of Lost Causes disappoints. As a TV pilot, however, it's serviceable yet unremarkable; the kind of thing that you'd probably give a couple more episodes in the vain hope that things will pick up.

Director James Wan has delivered what should rightfully be considered his masterpiece. There is a breadth and scale of ambition at work, which really tops anything he's tried in the genre before. Most importantly: it's a resounding success.

Thompson's strikingly assured and unflinching debut pumps new life into a well-trodden genre.

Fire at Sea is a film that expertly plays with contrasting moments and themes.

The more conventional thriller element demands that the transformation from enmity to something like love is too swiftly accomplished to be properly convincing.

Wang's film is as bewildering and heartbreaking as it is insightful, in its depiction of the daily existence of the institution's residents.

The President has an urgent relevance to all too many countries around the world, including those touched by the Arab Spring; a darkly comic and poignant portrait of an Ozymandian fall from grace and the subsequent damage that ensues.

Alice Through The Looking Glass is at its middling best when Wasikowska is at the reins.

There is much to like about Elle, first and foremost a witty and bold performance from Huppert and the generally seasoned ensemble.

For all the glib élan on display, there is very little being said, above and beyond the slickness of a well-tuned melodrama. The plot always risks revealing its essential silliness and there isn't much wit or humour to alleviate the mood.

This is a rich and complex take on guilt and anger.

A dark and slightly hysterical portrait of fundamentalist fever.

Guiraudie's humour is self-referential and at times hilarious. His tendency to shock might seem adolescent but he's also careful to identify taboos that perhaps shouldn't be taboos at all.

Though the farce is occasionally funny, it's as bloated and windy as its comedy policeman Inspector Machin.

At almost three hours, Puiu's latest is as long as most family events are, but the observations made are brilliantly bright and there is love here, after all.

A superb character study of WikiLeaks founder Julian Assange.

The whole set-up risks being all too winsome, but Jarmusch has always been a quiet punk: his most radical assertion is believing, despite everything, in the essential goodness of people.