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.

It is a demanding watch, but at the same time, Alonso's latest has a bizarre, beguiling quality which drifts towards the sublime even if it never quite gets to its destination.

It mostly holds together, but you'd have to hope that David Brent: Life on the Road represents the farewell tour.

Double Impact is a perfectly fine film, and is easily one of the best to come out of Van Damme’s back catalogue. If you want a film to have whilst drinking some ‘manly’ beers with ‘manly’ friends, then you could do much worse than .

Jupiter's Moon is a highly ambitious and thoroughly entertaining trip and if the politics is more backdrop than subtext, what remains is compelling and occasionally beautiful enough for you to enjoy the flight.

The politics serves as footnote to the aesthetic for Wheatley and High-Rise is certainly style over substance. For fans of the British director, that may well be more than enough.

Anderson's comic slasher doesn't quite earn its wings as a potential future classic, nevertheless it's very funny and another welcome indicator that antipodean genre cinema is where it's at right now.

Behind the closed doors of this lakeside paradise it is clear that there’s trouble afoot.

For a film that vocally questions convention, it's perhaps a shame that Miller and co. played it so safe with a fairly cookie-cutter origin story, but it's really just there to give Reynolds ammunition to riff on. Whether the studio might be willing to push the character further into the leftfield in the future will depend on whether Deadpool warrants sequels.

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.

Kelly eschews talking heads or expert testimony, and only rarely to characters flesh out the skeleton provided by occasional intertitles. When this style is employed for a single, short-term conflict, it can be incredibly powerful (just think of Sergei Loznitsa’s Maïdan) but Kelly’s film effectively drops the audience in situ at specific events within a much broader six-year framework without any context.

Tod Williams, a journeyman best known for Paranormal Activity 2, has managed to transfer King's very popular brand of horror with a good deal of success.

What starts out as creepy descends into a creature feature that's more laughable than scary.

The alienness of humanity, when seen from another perspective, is evident throughout the film.

Short but sweet, Advanced Style goes some way towards reclaiming high fashion for all ages and backgrounds - not just the young, privileged and white.

With references to other sci-fi films, however, it's obvious Project Almanac is aware of its genre clichés, strengths, and faults, and that makes for a genuinely fun time for film buffs.

Each scene is presented like a taro card for the viewer to assign his or her own meaning. Occasionally this can lead to a profound and deeply personal connection to the film whilst at others it can feel like Malick is overreaching; with large swaths of the narrative washing over you like an agreeable summer's breeze.

The pacing of Meyers' film sometimes drags a little but like a slow-moving training heading for the end of the line we can see the danger ahead and are powerless to prevent it. This frustration, and a gripping central performance, make My Friend Dahmer a film you can't pull your eyes away from.

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

Garrel and Miller manage to create a credible chemistry.

Zombi Child is a stirring and highly peculiar piece of work.

Despite all this, Sicario 2 remains highly watchable thanks to what it does preserve from the original: its mood of constant dread and impending doom.

By interchanging bawdy gaiety and a ponderous attitude to emphasise the film's spiritual message, Calvary feels extremely disjointed, struggling to balance its dualistic tone on top of its oversized ensemble cast.

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.

Husson sketches teenage ennui well, and crafts complicated and watchable characters around which to base the core of her drama. The slip-up comes in a final act that bows out of the previously constructed conflict in disappointingly obvious fashion.

The dark heart of In the Courtyard makes its comedy ever more piquant, while Deneuve and Kervern are exceptional as two lonely souls finding solace in each other's company during the twilight years of their lives.

Ultimately, Alverson’s The Mountain is arthouse cinema at its frostiest.

A chilling expose of state-sponsored cyber warfare and the enemy within.