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

Hopefully, Soderbergh’s film will raise more awareness as well as a chuckle.

The film can't be faulted for its attempt to argue for some kind of humane kinship and reconciliation, even if this attempt ends up dissolving the enmity in a sentimentality that, given what has come before, strains credibility.

Displaying an exemplary commitment to knuckle-biting tension, director Serra has made a riveting B-movie.

Babyteeth is a funny, vibrant and deeply moving piece of work. Its flaws are the flaws of youth, overcompensating for boredom with frenetic hyperactivity.

The film itself is utterly uncontroversial, solid, occasionally stolid, and perfectly fine.

This is pop-punk filmmaking – vibrant, disposable, and shallow. Still, it’s difficult to care about the nutritional content of your confectionary when it tastes this sweet.

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.

Despite its lunkish, ludicrous – and frankly cynical – qualities, this entry retains much of the appeal of previous entries.

It is, after all, the Baymax show - and he is cute, cuddly, comedy gold. Fortunately, although Big Hero 6 has various flaws, he's generally on hand to patch them.

This is heartfelt, inspiring stuff and there is no doubt that this is a true story that absolutely merits wider recognition.

There is much to enjoy here - especially at the beginning - and Östlund's ambition and vision are to be applauded. However, The Square would have been greatly improved had the director taken his scalpel and his demanding critical eye and applied it to the film itself.

Besides the overt journey for Christopher Robin of rediscovering some childhood joy, this film is a poignant exploration of the way in which we sideline important friendships at the behest of professional advancement.

Pearl is notable as a pandemic film, situating itself in the middle of the Spanish flu outbreak, though much like its engagement with sex, violence and entertainment, and its treatment of women, the film sets the table for a discussion but doesn’t quite make a full meal of it.

The Founder is a solid biopic but not one that will go down in history - unlike the multi-million dollar-making fast food chain at its core.

The Guardians is a subtle, beautifully made and quietly feminist work about the fortitude of women during wartime.

Colossal possesses some real depth in its acting and its description of human relationships, it's just a shame that when it sinks a few beers and gets up to do the monster mash: things get a little too silly.

Captain Fantastic is a slickly made comedy with a witty, politically articulate script and some wonderful cinematography by former Jacques Audiard regular Stéphane Fontaine.

A Woman's Life is a modest chamber piece, a series of sketches revealing a life of quiet desperation, which eschews melodrama and, for the most part, platitudes but exhibits great tenderness and sensitivity.

With God Exists, Her Name Is Petrunya, Mitevska has fashioned yet another bleak satire about Hegemonic masculinity in the Balkans.

The tributes paid to Yauch throughout by both Horovitz and Diamond are genuinely touching, and it’s here that Beastie Boys Story breaks through its inherent – often distracting – staginess. While there is still a definitive, impartial Beastie Boys film in the offing, devout fans should be more than satisfied by this nostalgic oddity.

Respect and admiration for her work and carefree nature is in plentiful supply but this is not an exclusively glowing retrospective.

As far as dramas of this kind are concerned The Panic in Needle Park is, in my view, without doubt one of the most thought-provoking ever committed to film.

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".

Sid and Nancy rages with a vitriolic fury which eventually becomes tiresome.

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

This is a rich portrait of not only Mapplethorpe, but also the history of the New York art world in the latter half of the 20th century.

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