Ultimately, Benson's Eleanor Rigby disappears into the gap between its rom-com and drama stools.

It remains remarkable that, at the grand old age of 73, Bertolucci is still making films of intelligence and guile, let alone features about teenage angst and sexual maturation.

This is a good solid three star movie. Which is perhaps where Snyder should be anyway, away from the extremes of deification and vilification. When he’s not trying to be great, he can actually be quite good.

It's a finely made thriller that's a little bit more contemporary than other le Carré adaptations before it, and allows the central trio a chance to shine and Lewis to do some weird things with his accent and mouth as a weirdly laid back and unconcerned British agent.

All of the film is handled in such a way: from the beautiful monochrome photography that only extends the disconnection Olga feels with the world, to the understated and haunting performances, particularly Olszanska's.

In sensual romantic drama Simple Passion, Lebanese-born director Danielle Arbid captures viscerally that peculiar detachment that comes from romantic and sexual infatuation.

Despite a few sentimental missteps and a second-act move away from horror that will upset some hoping for more slashing, Happy Death Day 2U is a fluffy and surprisingly smart, if shallow, tumble through genre tropes.

Sadly, Love and Thunder proves that it’s possible to have too much of a good Thor.

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.

Whilst Sutherland gives an impressive and powerful performance as an American on the run, the lack of substance and originality leaves you feeling somewhat unsatisfied.

With a lot of filler and none of the killer questions that are crying out to be asked, The Lost Sons leaves a lot unsaid. Take a step back from the effect of the shocking material, and the by-the-numbers construction of the film makes it too formulaic to leave a lasting impact.

Binoche's potent performance [cuts] to the quick of the struggle to balance a passion for work with a commitment to family.

Though it may not be one of Craven’s very best efforts, it does create a sense of tension seldom felt in horror cinema.

When push comes to shove, A Walk Among the Tombstones carries its B-movie thrills with aplomb.

This is a powerful and beautifully shot film of love and survival.

This is the fourth instalment in the Guest mockumentary 'canon' and it's evidence that the format has now solidified into a template that needs refreshing, as much gentle enjoyment as it might bring.

That the drama should hinge on a series of bizarre novelistic coincidences and the irrational dopiness of the characters with whom we're supposed to empathise drains the film of realism and sends us into Mills & Boon territory.

The Driver is a film of types and trends; a cinematic expression of our basest narrative impulses. Directed with remarkable economy, the seasoned Hill keeps everything as tight as possible.

Diary of a Chambermaid is beautifully shot and Jacquot's adaptation, co-scripted with Helene Zimmer, effectively conveys the casual violence of country life as well as the petty obsessions and miserliness of the bourgeoisie and the harsh treatment of their servants. The performances are also superb and Seydoux's stillness and quiet hauteur is particularly memorable.

As an audience, you're infected with the languor Abby suffers, realising that as pretty as Concussion looks and with such an interesting premise behind it, beneath the surface there is precious little to really sink your teeth into.

An entertaining and suitably gruesome gangster thriller which nevertheless feels like a missed opportunity.

The Seasons in Quincy is most compelling when we and it listens to Berger or captures him listening to someone else.

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.

A well-behaved and unashamedly populist film, the kind that could be shown in schools and community centres, Akin's The Cut remains an undeniably important film regardless. What it does extremely well is to movingly illustrate a terrible moment in history which has been sadly neglected in the West and actively suppressed in other parts of the world.

Paul Verhoeven’s first English language film Flesh + Blood is bloody, cynical and unrefined, but indicative of his later satirical tendencies.

Sadly, Radioactive is as lifeless and inert as a rock, badly let down by a dismal script, and carrying all the half-life of an unfinished fish dinner.

Films about teens looking for love and acceptance may be well-trodden ground, but Paper Towns finds a fresher path to get there.

Tom of Finland is imbued with playfulness but not the cutting edge, and bravery, of its eponymous leading man.