Doremus doesn't appear to take the world he has created at all seriously. The rules shift and bend, are observed - or aren't - according to the exigency of the narrative, which ultimately renders the whole exercise fundamentally unconvincing and fatally irksome.

The Legend of Barney Thomson has a few redeeming features scattered throughout, but for Carlyle it's much too bland and undefined.

It's essentially a collection of shoddily edited action sequences, underpinned by a monotonous narrative that has no purpose, let alone moral heart to reward viewers' waning attention.

Despite its myriad issues, Glass is often a hoot to watch – particularly once Elijah comes out of his self-induced fugue to wreak havoc on the facility, with Jackson hamming it up with infectious relish, bouncing off the gurning McAvoy.

In the end, it’s more disappointing than bad. A great cast and an interesting period of history (even if it has been done to death on screens and in classrooms) wasted on a sombre muddle that wants to have both the gravity of Shakespeare and a fresh, dynamic perspective.

Woman in Gold is ultimately a worthy endeavour even when it is not entirely successful.

It's a rancid cocktail of misogyny, homophobia, and much more besides, that never convinces as scathing satire as much as back-slapping celebration.

Vita and Virginia is a remarkably chaste and safe film given its wealthy subject matter.

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.

The attempt to make an intimate, multi-stranded story out of this royal episode is appreciated, especially given its subplots which effectively compare with Kristina's own struggle between independence and duty, but the gripping central performances lack a proper foundation.

A lacklustre, clichéd and at times wholly unbelievable film.

American writer-director Erika Arlee’s debut feature showcases strong performances and nice visual flourishes, but A Song for Imogene struggles to find an emotional hook.

Like most of Howard’s films, Hillbilly Elegy is perfectly watchable, unchallenging and largely forgettable awards fodder.

When Good Kill takes aim at US foreign policy and the advances in military technology, it creates moments of chilling and powerful drama, but this is dissipated and compromised by its mirror-punching domestic drama and its bizarre need to bring about something like a happy ending.

Taken as a transient, high-paced and familiar rock 'em, sock' em kind of film, it packs quite a punch.

Its aspirations to high-end production values and the inventive use of urban cityscapes filmed from carefully selected futuristic angles are all very well, but it could have done with something a little looser, more punk, more grimy, more stoned.

In its determined avoidance of sensationalism, it finds itself stranded in an empty space so understated, it is genuinely difficult to understand what, if anything, it is saying.

Superficiality soaks the entire film.

It is as glitzy and gaudy as the festival itself, with its vacuous politics drowned out by the thunderous sound of it slapping its own back.

Everything seems designed to disturb or perhaps infuriate the viewer.

The problem with The Guardian is that though all the ingredients are there, they fail to come together in the final mix.

There are some dumb thrills to be had but there is also the sense here of an ambition not quite realised.

No amount of tight corridors and shots of CCTV monitors ever make protagonist Tatyana feel in peril: this, far more than derivative monsters and confusing themes, is Sputnik’s fatal error.

Lacks both the iconic heft of its predecessor's imagery as well as any sense of character development.

Sadly, the intriguing set up - along with Del and Bonnie - is left behind for a too nakedly state-of-America musing, with everyone Charley happens across having some social ill to portray.

Although there is certainly tension at moments and Driver once more proves himself an actor of great promise, Hungry Hearts falls between two baby chairs - neither satisfying as a thriller nor convincing as a drama.

As a piece of extraterrestrial-tinged whimsy, Lifeforce occasionally shows weak signs of life, but in the end it falls well short of achieving classic status.

The Danish Girl is as handsome yet disappointingly flat as a painting on a chocolate box. It should certainly be applauded for bringing to light an unsung hero of the transgenderism, but in its unremitting tastefulness and sentimentality - even a beating has beautiful setting and a lovely bit of blood - it ultimately left this reviewer as cold as a dip in a Danish bog.