There are just too many jumps to make and spaces to fill to fully believe this fantastical obsession.

Sea Fever proves better in concept than in execution, let down by a second act of fumbled editing and slackened tension.

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

There's a wry comic sensibility that sees Hughes himself as an absurdity who seems half aware of his own ridiculousness.

The Violators bravely paints a vicious circle without pulling any punches and shows real promise in a new female British filmmaker.

Like many of the films from that era, Coffy hasn’t aged particularly well, but it’s still an entertaining snapshot of the shifting sociological changes of that time wrapped up in crowd- pleasing B-movie.

Character and psychology aren't really the point here. Bozon's world is one of adult grotesquerie splatting against the wall of youthful hostility.

This film throws toxic male aggression right back at them.

Read as a loose adaptation of Invasion of the Body Snatchers, Little Joe is a gripping and visually striking satire of essentialist maternal instinct and the contemporary anxiety of wellbeing.

Mitchell’s third film feels like a script that was locked in a drawer after numerous rejections but now can be brought out and pushed through with clout earned from the success of It Follows.

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

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.

Schechter's latest marks its arrival with a fanfare of style and sass, but lacks the necessary bite to leave a lasting impression.

Killing Ground isn't terrible. Far from it, in fact. It uses the non-linear narrative structure well to toy with the audience and create a sense of mystery around the duel arcs of the characters involved.

Adopting a laid-back, effortlessly charming approach from the start, Moomins on the Riviera drifts through its short but sweet run time at a welcome pace.

Shock and awe are both present - as is Escalante's intense style - but Heli lacks the ideas or formal dexterity to constitute a state of the nation address in any but the most cursory of ways.

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.

The result is a beautifully entertaining film. It is witty and the scenes between Gerwig and Pacino fizz alternately with flirtation, humour and occasionally rage.

With Unbroken, Jolie fails to captures Zamperini's life, and she focuses too much of what he endured and how he survived such suffering, crafting a lacklustre and dull film about an incredibly remarkable man.

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

Outlaw King is proof positive that Pine is one of the most underestimated actors in modern cinema.

Jackson's efforts have peaked and troughed, but this final chapter will undoubtedly satisfy fans, and kindle a sense of sadness as this hobbit's tale finally draws to a close.

With quite a simple plot, it’s not a particularly challenging or unpredictable storyline, but it’s elevated by great performances, refreshingly dry humour, bold cinematography by Stefan Duscio, and a vibrant original score by François Tétaz.

The film undoubtedly delivers, with all the monster thumping and building smashing that we could want, not to mention a not-so-surprise late appearance from a classic adversary.

Streets of Fire is fairly devoid of anything resembling a cohesive plot or lacking even a shred of subtext. It exists purely as pop action cinema, sweeping you up with a fevered enthusiasm and an overpowering desire to entertain which proves incredibly difficult to resist.

Mektoub My Love is an often beguiling work, drenched in beauty and humour and an inclusive warmth.

There is something reassuring and enjoyable to the familiarity of such a joyous, uplifting and uproariously funny affair and it must be said that the vocal talents of those on show is quite remarkable

Run All Night's saving grace is, unsurprisingly, its lead actor who remains as watchable as ever despite the material he has to work with.