Hers delivers a hard lesson about the healing power of love and acceptance with simple and unsentimental eloquence.

Much of this documentary sequel to to Thomas Balmès’ 2013 film Happiness is beautiful and humane, but is more often simplistic and questionable in its exploration of the impact of technology on a traditional society.

As a fable Amerikatsi hits the big emotional notes: it’s an American tale in reverse, told sincerely and personally. Sentimental, yes, simplistic too, but also honest and even affirming.

There’s nary a memorable shot in the whole film. As for Ehrenreich’s performance, it’s honestly difficult to tell how good he is. Remarkably for a film called Solo, with so many characters each one nibbling at the scenes, he hardly has room to shine.

The nighttime tungsten orange of the street lighting and the urine-coloured neon of the interiors makes for a grueling visual experience which is why the daylight of the latter-half offers precious relief.

The human drama isn't always as compelling as it wants to be, but at its best Godzilla is a hugely entertaining blockbuster that starts strongly and finishes with a mighty roar. The king of the monsters has returned, and it appears he's here to stay.

It soon becomes difficult to dismiss the suspicion that Goldthwait had set out to make a comic horror but forgot to insert any laughs.

In its totality Ava is a powerful and authentic depiction of a vital moment in a young woman’s life.

In only ever managing to skim the surface, the spirit of their crusade is never really evoked. What's left is ultimately a handsome, and at times heart-stopping voyage that never lives up to its classic forebears.

In giving rope to Bannon and hoping that he’ll hang himself, we’re instead forced to watch him fashion a lasso and play at being John Wayne, with Morris seemingly powerless to stop him.

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

Depicting a fictional uprising in an unnamed Mexican city, New Order ably depicts the terror, confusion and violence of political revolution, but stops short of offering meaningful context.

Far from perfect, and very rarely offering us anything unexpected, Beautiful Boy is nevertheless a well-mounted depiction of the terrible cycle of substance abuse.

Certain sequences are handled exceptionally... but others feel overblown and some characters underwhelm. That’s not to say that Black Sea is not an enjoyable – and at times, enthralling – aquatic adventure, it just never quite thrills as much as it spills, and flounders during some of its more emotional beats.

As an entry into the Scandi police procedural genre, The Keeper of Lost Causes disappoints. As a TV pilot, however, it's serviceable yet unremarkable; the kind of thing that you'd probably give a couple more episodes in the vain hope that things will pick up.

There are few outright surprises in Maya, and though things proceed roughly as we might expect there is a deeper sort of emotional revelation that comes from letting the story proceed on its own terms.

The Children Act brilliantly recreates the measured mind and language of a judge. But McEwan and Eyre are also interested in conveying the tumultuous emotional currents that operate below the surface in a person – often unrecognised until it is too late.

Caution should always be taken when branding any film about an 80-foot ape "illogical", but such is the gross stupidity of the film's movable feast - and the abominable dialogue spewing from their mouths - that you'll likely thank the primate deity himself every time one is crushed, impaled or bisected.

For much of its brisk eighty-two minutes running time, Emelie (2015) is a devilishly good thriller of notably transgressive bent, giving the slasher and home invasion formats a rare matriarchal focus.

There’s a dark streak of comic absurdity running throughout Harold and Maude that serves a dual purpose; it gives the film its unique, heightened tone, but it also conversely grounds the more whimsical element by hinting at a greater darkness beyond the events portrayed within.

[Miles Teller] does dogged, unerring determination very well and makes Younger's film an engaging rollercoaster ride.

A faultlessly fun genre picture.

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.

A largely groanworthy independent offering which is severely lacking in the pulpy charms it so desperately tries to emulate.

It's an undeniable hoot that plays very much to a specific audience but a word of warning: even those that are fans of this kind of ridiculous and farcical actioner might find themselves checking out of Yakuza Apocalypse before their stay is up. Again, with emphasis on the word 'might'.

It never pierces beneath the frivolous surface of the insular society it creates and it is this peculiar lack of drama, doubt or mystery that marks it out as a curio, certainly in reflection of contemporaneous masterpieces by Godard or Antonioni. Where Darling does feel vital and pertinent is in its treatment of celebrity as a goal unto itself, something to be coveted at all costs.

Yomeddine is an accomplished appeal for empathy and an entertaining journey of discovery.

Eastwood and Bridges handle the tricky character transitions well, playing the broad material for the back rows while hinting at the inner darkness. Cimino’s Thunderbolt and Lightfoot beckoned in the strange birth of a true auteur, and it’s one well worth digging into.