While on the whole Vice succeeds in offering a highly original take on Cheney’s time in office, it does have a number of weaknesses.

Unveiling personality traits previously unknown, alongside footage that’s captivating to observe, this lovingly constructed documentary will leave you with a fresh appetite to revisit Bergman’s filmography in as much detail as presented throughout.

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.

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.

While it is hard to imagine its themes of gender fluidity and female empowerment not resonating with contemporary audiences, Wash and his fellow screenwriters make these parallels irritatingly obvious, to the extent that characters constantly say and do things that feel implausibly millennial, and caricatures (especially male ones) abound.

The real marvel of this biopic is how well it captures the stoic resolve of two men who come to realise, perhaps long after their own audience, that life has joined them together for better and for worse.

Endlessly thought-provoking, the disturbing nature of this quite incredible work cultivates a long-lasting sense of unease in the viewer and achieves what all good documentaries aim to do – it remains firmly lodged in you mind and refuses to loose its terrible grip.

Hill does his best but Jim is woefully underwritten, a shuffling loser who various other characters try to bolster with the dignity of a back story that doesn’t seem to fit his actual behaviour.

The Favourite has ribaldry and intelligence to burn, a deliciously entertaining period piece that feels liberated by its period, rather than restrained and invigorates like a glass of wine thrown violently in your face.

A vital and timely missive to a new generation that is as sobering as it is uplifting, all built around a performance of astounding accomplishment.

By showing that self-worth and acceptance of one’s faults are to be valued, DuVernay has shown how empowerment can come from changing your own outlook, and perhaps adults as well as kids will be able to take something positive from this movie.

For fans of the original film this will be a very enjoyable sequel, perhaps just shy of being an all-round triumph, but an admirably heartwarming effort at continuing the legacy of everyone’s favourite magical nanny.

It is evident that her art is what she has used to plough through the attendant difficulties – lack of success and recognition, mental health issues – of the life she chose for herself. And as the documentary confirms, she has indeed been rewarded for it at long last.

Perischetti, Ramsey and Rothman’s picture is an irresistible treat throughout, an unadulterated confection crafted with wit, vivacity and heart.

Despite the golden cast, this is Redford’s show, bolstered by a life-long career of effectively playing younger versions of Tucker.

Disobedience’s third-act narrative inertia does little to dampen its tonal sobriety and quietly powerful compositions. While nuance may be lacking, it makes up in tone and directorial precision.

Rocky has always lived and died on its direct, unsubtle sincerity. It’s in these heartfelt moments where Creed II flies, underpinning its thoughtful climax and one of the series’ most surprisingly moving endings.

Marsh has crafted a compelling film, yet for all the fine performances and intriguing subject matter it is never quite compelling.

Drily narrated by Udo Kier, Hitler’s Hollywood is not a film about the rise of Nazism, nor even a linear history of the era’s cinema. Rather, it seeks to capture its spirit, interrogate its aesthetics and finally, to try to understand the insidious power of its propaganda.

Ultimately, Anna and the Apocalypse ends up lacking the requisite bite to really make it fly as that quirky leftfield offering it so badly wants to be.

The real success to Ralph Breaks the Internet is how, while having the most amount of fun possible, it’s also able to be cleverly subversive (no longer should the iconic Disney princess be reliant on men to strive) and deeply rooted in its themes of friendship, and all the ups and downs that follow.

Tim Wardle engagingly recounts the fascinating story of a set of triplets who were separated at birth and reunited through coincidence when they were 19. The telling however slowly takes a darker turn as facts around the original separation are probed and frightening truths about science and human intent come to the surface.

Even if it does occasionally threaten to outstay its welcome with a 111-minute running time, the deeply engaging performances and that freeing and uninhibited Spanish flavour which Marques-Marcet brings to his English-language debut, means it’s the kind of world you really don’t mind lingering in.

It might be that the actor Dano baulks at taking the scissors to any of the performances of his fellow thespians, or that screenwriters Dano and Zoe Kazan are too faithful to Richard Ford’s source novel but this results in a deadening of effect that renders the melancholy monotonous.

Everything builds to a brilliantly over the top finale that becomes almost mesmeric with its use of colour, music, movement and panting.

The Girl in the Spider’s Web demonstrates how uncertainty is a detriment, just as it proves Alvarez will always be a stylist worth watching.

Nathaniel Kahn’s The Price of Everything certainly doesn’t hold back in its skewering of a contemporary art world defined far more by financial gain and status seeking than a genuine love of beauty.

It’s difficult given the premise of the film not to come out of The Workshop thinking of alternative directions the story could have gone in.