Kevin Kerslake’s Bad Reputation doesn’t explore just Jett’s rock star image and the added layers of hostility and confusion that her gender brings to the term ‘rock star’ but also, how cinema weaves its elements within the world of music, it’s aesthetic and subcultures, cinema and music as creating its own little world.

Described as a darkly comic horror movie, Cold Fish manages to defy the trade descriptions act on both fronts.

To suggest that One Floor Below operates at a simmer would be to exaggerate the level of heat being applied to the pot. This is one that Muntean is happy to let bubble intermittently, cranking the tension around on a scarcely-moving winch.

Told respectfully and far from tarring an entire religion with the same brush, Young Ahmed is an exceptionally crafted and intelligent film.

A great deal of love, intelligence and effort have gone into crafting a more mature rendering of the Wizarding World, where pertinent themes of segregation, racism, international politics bubble in the narrative cauldron.

Riccobono neither condemns nor sympathises, maintaining a commendable neutrality, as his subjects frank testimony paves the way to jail cells.

The most commendable aspect of the The Return of the Living Dead is its ability to combine horror and comedy rather than allowing the different elements to become intermittent and the tone inconsistent.

There are moments in the film that just feel wrong, sometimes complex and wrong and sometimes just plain wrong.

Infinity War will likely be first choice for the summer season crowd, but Deadpool 2 wins hands down in terms of personal stakes and visual flair.

For fans of the original film this will be a very enjoyable sequel, perhaps just shy of being an all-round triumph, but an admirably heartwarming effort at continuing the legacy of everyone’s favourite magical nanny.

As this is only inspired by the real events, there are perhaps one too many threads neatly tied into a bow, but all of them work in concert with the main event.

A minor miracle in and of itself, Edwards' Rogue One somehow delivers on almost all of its weighty pre-release promises whilst at the same time besting The Force Awakens for sheer spectacle and world-building.

A sumptuously shot, nostalgic bildungsroman framed by a bitttersweet darkness, the film deploys many well-worn tropes of the coming of age drama. But they’re executed with such a light, self-aware confidence that Summer of ’85 has wit, warmth and charm to spare.

A United Kingdom is a solid, competently made and gorgeously photographed film, but its exploration of complex issues - race, gender, politics and affairs of state - feels rather safe throughout, their full impact and import somewhat dialled back.

Constructed with his trademark panache, it is bold, bracing and stylish in both its aesthetics and an outstanding retro soundtrack, but as its parallel leading ladies will discover to their peril, not all that glitters is gold.

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.

It isn't that it's hard going: it simply can't decide what it wants to be. [Cannes Version]

It's a gem of a film to be cherished by one and all.

A meandering, almost impenetrable tale of sweaty strip joints and sleazy gangsters.

There’s little here to surprise anyone with a passing familiarity with the story, and its creepiest elements sometimes feel neutered. It may be heresy, but the body-horror of the Land of Toys and sublime terror of the whale were imagined far more viscerally in the Disney version.

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

It’s an assuredly thought-provoking film that’s earnestness doesn’t drag it into the weeds, concluding with a wholly deserved, humanely warm resolution.

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.

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.

As a comedy about contemporary American society it feels weirdly anachronistic, with an uninspired story told with little urgency or novelty.

It has its moments, but the film is guilty of being fun but forgettable, much like those numerous spy stories cooked up on typewriters in the quiet hours of night and then lost to history when the guns fell silent.

Despite being lethargic at times, it's a rich portrait of people and place.

Ultimately, Memphis is a bold and bewildering conjuring act, that might mean nothing at all, but the sleight of hand is worth the price of admission.