The latent wonder of Southern Comfort lies in Hill’s dangerously direction and a script that spits and curses like a troop of undomesticated delinquents.

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.

Homecoming gives an empathetic portrait of a family in a phase of change. Girls are becoming women; a mother is beginning to return to life. It has the promise of a prelude.

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.

Cheap Thrills is a commendably flawed experiment in imbuing social anxiety with genre shocks.

The biggest strength is in the Bellas themselves. More confident in their respective roles, Anna Kendrick in particular develops her lead from a prickly outsider to someone slightly more goofy, and by extension a little more likeable.

With the imperfect but fascinating Endzeit, director Carolina Hellsgård ultimately guides her ravenous wanderers down an original and largely unbeaten track.

A little overlong and lacking the thematic clout to justify its knotty plot, Atomic Blonde is nevertheless an exhilarating, visceral actioner, more than making up for its flaws with a surfeit of verve and style.

Although the thriller like approach makes the unveiling of the story intermittently interesting, Human Capital stumbles on its blandly predictable, two dimensional characters and the implausible melodrama of its latter stages.

The characters of Jimmy's Hall aren't really characters as much as archetypes: the saintly mother, the sweetheart, the hero, the villain. This is the kind of film where people don't argue - they debate - speaking in lines from manifestos and creating an incongruity.

For a film that looks at a believably nightmarish future, The Congress sits out of its time; a feverish relic of a post-revolutionary cinema of the mind that attempts to transcend the confines of a bloated filmic space that appears no longer interested in discourse, and would rather parley its audience into a stupefied boredom.

Accomplished as the filmmaking is, on a certain level the directors’ good intentions fall flat, resulting in an often clever but fundamentally flimsy comedy.

Ultimately, Narvel is the fascist as liberal fantasy. Someone with access to skilled violence, who can unleash it at whim. It’s such a pity that a screenwriter who used to excel at delineating the intricacies of male insecurity and poison now comes out with such a one-dimensional character.

Love and war are a winning combination and Eduard Grau's cinematography, terrific performances all round, in particular the simmering chemistry between Schoenaerts and Williams, should ensure Suite Française's success as well as adding to Némirovsky’s fan base.

With LaBeouf giving the performance of his career and a well-told story that hits all the right beats, Borg vs McEnroe may just well go down as a great tennis film.

What we are ultimately left with is a well-made, consummately-performed drama – Laura Linney shines in a small role as John’s equally exasperated younger sister – which unfortunately falls a little short of the intended emotional catharsis Mortensen is reaching for.

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.

The Brood sees the undisputed king of body horror honing his visceral eye, whilst at the same time offering up several truly iconic images that have quite clearly endured.

Add to the mix gregarious powerhouse producer Dino De Laurentiis, plus regular Redford directorial collaborator Sydney Pollock and, unsurprisingly, the resulting film is a cracking thriller.

Östlund has created a full-throated, roaring comedy of hate against the upper-classes. It is cynical, nihilistic and has no issue about punching down.

While it may be a little better in concept than in execution, there’s enough energy, imagination and innovation here to satisfy any genre hound suffering fatigue from the endless wash, rinse, repeat cycle of the Marvel Cinematic Universe, et al.

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.

It might seem unlikely that something so narratively simplistic and ultimately childish could sustain its runtime but the chaos and comedy of the haphazard gunplay is such that it only suffers from a handful of lulls.

Provocative, despicably playful, and consistently punishing, stitched into the skin of the writer-director’s latest film are a multitude of issues relating to Covid-19 and the anxieties of lockdown, the fragility of our environment, the brutality and arrogance of mankind, and our inability to recognise or truly understand the power of the natural world, or indeed ourselves.

An uncategorisable odyssey of sub-Freudian nightmares that goes hard on suffering but soft on narrative intrigue.

Entertaining from start to finish and wonderfully played by a largely female cast, David Arquette has a small role as an escaped convict, Grant’s film beautifully upends the sexist notion that women are naturally inclined to nurture. It surprises, too, as a tribute to the fortitude of working-class women.

The franchise reboot we never knew we needed, Resurrections is a wonderfully strange and baffling film, less of a fourth entry in an ongoing saga and more a personal reflection on the original trilogy.

Beyond its gender-swapped lead role, Peter von Kant never truly ventures into new territory and so never quite justifies its own existence.