This is a heartfelt and charismatic teen movie that gives a platform to a promising young talent.

Ultimately, Sorrentino’s sympathies lie with Berlusconi because – in their vacuity and their need to impress – they have something in common.

It's a good-looking film and the three leads hold our attention, yet the lacklustre plotting and lack of narrative drive undercut The Man from U.N.C.L.E.'s overall charm.

War Machine is a good film but not a great one, hamstrung by too many ideas and too little focus, its effectiveness eroded as it pulls itself in multiple tonal directions.

With a fantastic stunt team, a gamely macho star and some wonderful editing, Rollerball is so convincing, urban legend had it there were fatalities during the shoot.

Though it may tell of one family's story in the late nineteenth century, and the superb costume and period attention to detail are firmly rooted in its time and place, the case that Tommy's Honour makes for breaking tradition, being true to oneself and challenging authority establishes thematic ties that are timeless.

Despite its pitfalls, Maleficent entertains because of Jolie, who holds the wavering threads of Stromberg's spinning wheel together with aplomb.

The style, one senses, is overcompensating for a narrative slackness that has nowhere particular to go other than anti-climax. That's not to say that Manglehorn isn't a good film - it is. It's just that Pacino's seasoned performance deserved a great film.

It's a banana flambé with extra rum that brazenly throws together folksy storytelling, arch soap opera melodrama and a typically eccentric cast into a golden Hollywood crack at the American Dream.

Betty Blue, in either of its forms – whether it be the 121-minute theatrical version or the 185-minute director’s cut – takes a bad situation and makes it true-blue and beautiful.

The film feels like yet another product of the recent studio appropriation of mumblecore as a commodity, ultimately removing any semblance of individualism and feeling like just another product off the factory conveyor belt.

There are undoubtedly kinks to iron out - the film has a particular problem with pacing during a section that requires careful handling - but this is a handsome and assured feature and certainly suggests a bright future behind the camera for Portman, who also stars.

Visually arresting and well-acted, Dogs shows promise but one would have hoped for some new tricks.

The film’s biggest weakness is its reluctance to interrogate the personas of its supporting characters.

I Love You, Daddy is a hilarious, awkward and boundary-pushing comedy about fatherhood, anxiety and the ethics of relationships.

With Old, Shyamalan appears to have embraced a devil-may-care attitude fitting for a filmmaker known to astound and dismay audiences in equal measure. Whisper it quietly, but it may be his best work in over a decade.

Money Monster hobbles towards the most unsurprising of finish lines. Thankfully, reaching the finale does put everyone out of their misery.

Its narrative might reach cliché towards the end, but powerful performances carry this fine fable of the American Dream lost in heartbreak.

Despite its manifold flaws, Jackie & Ryan is still oddly watchable.

Legend crucially lacks almost any sense of gravitas, although the bold and brash approach does keep you entertained.

While Kursk doesn’t have the sufficient depth required for a truly effective historical drama it certainly works as a well-mounted and occasionally gripping, if somewhat formulaic thriller.

A basically entertaining, but flimsy and shallow object, The Flash may not be the final entry in this long-beleaguered franchise, but it might as well be.

Broomfield’s triumph is in reimagining Biggie and Tupac’s murders out of their mythology and into a new context in which they are emblematic of a social malaise characterised by toxic masculinity, misogyny, racism, and police corruption.

Directed by Jon Cassar, Forsaken is a humdrum Western which never demonstrates even the suggestion of a trick up its sleeve.

The Current War feels like a history lesson with interesting visuals, rather than a compelling, fully-realised historical drama.

Like Pride Rock itself, this remake seems a spectacle to behold afar, but when you step closer all you can see are its monotonous shades of grey.

It’s just Huppert on autopilot and like that dry white wine, you can have too much of it.

The sheer insanity of the premise alone is enough to make Tusk a surreal hoot.