It remains remarkable that, at the grand old age of 73, Bertolucci is still making films of intelligence and guile, let alone features about teenage angst and sexual maturation.

The script by Cronin and Stephen Shields blends the familiar with the eerie well and never allows silliness to take over. The performances all round are superb and Seána Kerslake creates a credible heroine – a woman on the edge but who is by no means fragile.

Delivering clear big screen moments, of which will leave audiences itching to return and experience it all over again, you simply cannot deny that this eccentric mix of ABBA and cinema still holds magic.

The acting throughout is supremely naturalistic, and the social milieu of both family life and the theatre are carefully observed and lightly rendered.

It must be said that Foster - who adhered to the actual doping program during filming - excels as Armstrong. Bearing an unnerving physical resemblance to the fallen cycling hero, he is a revelation in a remarkable tour de force - not France - performance.

Kahn floats the idea that it’s not simply God who has enraptured Thomas’ soul, but his desire to exist within a society that accepts him. Sadly the mechanical aspects of the film’s plotting mean these ideas never manage to bubble to the surface

The Kindergarten Teacher evokes sadness and horror in equal measure, but not always a great deal of understanding.

Booksmart has its undeniably crowd-pleasing moments, but it doesn’t stray as far from the status quo of the genre as it possibly could have.

Having constructed such a dramatically enticing set-up, it's thus disappointing to see Mackenzie fall back on familiar generic tropes with such a frustrating sense of inevitability.

The style, one senses, is overcompensating for a narrative slackness that has nowhere particular to go other than anti-climax. That's not to say that Manglehorn isn't a good film - it is. It's just that Pacino's seasoned performance deserved a great film.

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

The King feels disconnected and unurgent. Despite some wonderful moments, it perhaps lacks the requisite majesty.

Sticking to documentary form for the most part with key talking heads, a barrage of headlines and ample news broadcasts, the co-directors are not afraid to shock with gruesome crime scene footage.

John Madden's The Second Best Exotic Marigold Hotel offers just as much joy, heart and chuckles as its hugely successful predecessor.

At times the whole film threatens to turn into a visual stream of consciousness exercise which is a real shame, as Greenfield’s aims are entirely admirable and with merit.

It's not just some science-fiction about rodents preying on humans; it's a documentary about it. "They will literally kill us," explains a lecturer early on in what the filmmakers frame as a fully-fledged horror complete with jump-scares, an ominous score, and all manner of squeamish moments.

Uneven, convoluted and laden with far too many twists and turns Creepy sadly struggles to balance both terror and suspense, with any intrigue dissipating long before the film's secrets are eventually unravelled.

The sheer insanity of the premise alone is enough to make Tusk a surreal hoot.

There are few documentaries that feel like wholesome family films (20 Feet From Stardom is a rare example) but this is one. Overly reverential perhaps, but Won’t You Be My Neighbor? is an uncynical tonic for a very cynical age.

No doubt many will find German’s approach pretentious and overly repetitive.

The Eternal Daughter is very much a minor film for Hogg: a small chamber piece which could be watched as amusing marginalia to The Souvenir diptych. It’s a hangout film for those among you who can’t get enough Tilda Swinton and an incredibly cute dog, and as such it works. It doesn’t really have anything to say, and the meta-ness feels a little tired.

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.

This is a heartfelt and charismatic teen movie that gives a platform to a promising young talent.

It’s all tasteful and non-sensationalist in approach. However, some will mistake an important topic for great filmmaking. Schrader’s film relies more on the former than displaying the latter.

Though it may not be one of Craven’s very best efforts, it does create a sense of tension seldom felt in horror cinema.

Whatever strange alchemy went into this film, nothing is so strange as how compelling it proves to be when you approach its premise with complete seriousness.

Efira is a dominant and compelling presence and Sibyl is frequently funny. Ultimately, it never quite squares the circle of the comedy and the pain, but Triet is a sophisticated filmmaker and this – her third feature – is further proof of great talent.

Nothing quite competes with the blistering opening scene, but The Salvation's cast of characters mean it's never less than a fun watch.