With believability being pushed too far, and the film’s direction needing a tighter pace, even the surreal visual effects and trippy weirdness aren’t quite enough to make it work.

It's in Wasikowska's confident performance alone that it's more gratifying to acknowledge any motives. The Australian actress appears to come of age in by far her most assured role, every bit believable as a tough but introverted city girl making her way in her country's Outback

An adroit, and trashy thriller leached of all its significance by a plot that spirals uncontrollably into lunacy, Unsane takes the feverish temperature of a country enraged by sexual harassment and decides to turn up the heat.

This is a punchy and promising debut from Pront.

The revelations and images contained within are individually resonant and telling of a wider picture, but there’s a sense that Wang, or perhaps her financiers, are cautious of pushing too far. Unfortunately, this winds up leaving One Child Nation a muddle of confused half-messages which reach for and fall slightly short of an admirable goal.

Adopting a laid-back, effortlessly charming approach from the start, Moomins on the Riviera drifts through its short but sweet run time at a welcome pace.

Director Yeon Sang-ho’s Peninsula is a solid follow up to his original, with just about enough shambling momentum to distract from a fairly uninspired plot.

This version of Emma. is unlikely to win any accolades for invention. Indeed the 1996 film Clueless arguably remains the most exciting version of Austen’s novel. Nevertheless, de Wilde’s version is a confident and lively translation of Austen’s wit on to the screen.

Given the alarming rise of far right xenophobia, a film that portrays this memorable defence against fascism and the rewriting of history, feels exceptionally timely. There are more than a few parallels to be drawn between the swagger and deviousness of Irving and another well known falsifier, President Trump.

As fascism in South America, North America and Europe is rising from the grave, it needs a properly-aimed and delivered stake, rather than complacent sniggering

The wayward narrative will appeal to fans as much as it will befuddle newcomers, making for an imperfect but hugely endearing family adventure.

The pacing is methodical but breakthroughs in the case and anxious moments where all is feared lost generate real tension.

A well-behaved and unashamedly populist film, the kind that could be shown in schools and community centres, Akin's The Cut remains an undeniably important film regardless. What it does extremely well is to movingly illustrate a terrible moment in history which has been sadly neglected in the West and actively suppressed in other parts of the world.

The main hook of The Long Riders is clearly in the casting, but this never feels gimmicky in a film that attempts to balance the pastoral and the brutal. It’s a noble ambition and one which works for the most part; there are occasions upon which it means a jarring switch of tone but largely the timbre remains consistently elegiac.

The first forty minutes or so are – as you would expect – a harrowing recreation of the bombing and the crime.

The aesthetic, tone and performances result in a package that sits alongside similar Hollywood fare comfortably. However, in an industry that demands even the most famous spies to try something different, Nalluri's film never stands out.

WW84 is far from perfect: its length and fumbling of Minerva’s arc are chief among its sins, but equally there are no denying its simple, vibrant charms. Much like Christopher Reeves as Superman, Gal Gadot simply is Wonder Woman – and this latest entry is undoubtedly her most fun, spectacular and charming yet.

Corbine Jr.’s debut is a lean, disconcerting and impressively shot character study. Hovering on a glimmering knife edge, there are flashes of brilliance here.

Stylishly shot and full of blood spraying from slashed necks, shoulders and stomachs, Lady Snowblood is a thoroughly enjoyable and arty exploitation flick which has deservedly gone on to become a cult hit.

There's something highly familiar about the material and although it is artful and occasionally powerful, Akin and co-screenwriter Hark Bohm have constructed their story without straying far from countless other versions of the same thing.

The Martian is ultimately a love letter to the spirit that saw humanity reach for the stars in the first place. When it's channelling that spirit via Damon and witty writing it lifts off, but then can't quite sustain its trajectory in orbit.

Though It’s a Mad, Mad, Mad, Mad World struggles to justify its ludicrous length, there are just enough laughs, cameos and memorable set pieces to garner a recommendation.

Di Giacomo doesn’t build sequences to heighten tension, although some is unavoidable. Often, the film follows the relatively mundane work of the Franciscan Father Cataldo Migliazzo, the film’s primary protagonist, and the otherwise everyday lives of those who come to him for help.

Fares' film doesn't ever quite hit the same high-octane levels as its petrol head subjects but it is nevertheless a very unusual and encouraging representation of social change, defiance and self-determination.

The extraordinary amount of footage, which moves from monochrome, to grainy colour, to vibrant turquoises as technology and time march on, is really a wonder to behold. If, wherever you are in the world, there’s the opportunity to see Playing with Sharks on the big screen, then you should, to fully experience this eye-opening, vivid documentary.

It might be that the actor Dano baulks at taking the scissors to any of the performances of his fellow thespians, or that screenwriters Dano and Zoe Kazan are too faithful to Richard Ford’s source novel but this results in a deadening of effect that renders the melancholy monotonous.

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

What is most satisfying about the film is its full and non-ironic commitment to a ludicrously operatic masculinity. There is surely no other way to end such a piece than the way it does.