Amongst the swearing, past gripes and resentments exhibited by wearying central players there is humour, compassion and a great deal more heart and soul than we have come to expect from the rote, by-the-numbers dialogue of Marvels past.

Effective in articulating how relationships work as a way of transferring and understanding the unspoken and unseen feelings that lay dormant within us all, Netzer's intelligent portrait of a ticking time-bomb relationship sadly lacks the warmth and tenderness required for it ever to ignite.

There's a measured, almost clinical precision to how On Body and Soul is shot that, while in keeping with Mária's great fragility and terrible need for affection, prevents the film from really delivering.

Félicité is an emotionally effective heart-tugger, thanks largely to Véro Tshanda Beya's dignified lead performance.

It's a curt, nasty and deftly acted chamber piece high on laughs and savagery about frustrated idealism and how little it takes to make society fall to pieces.

Sadly, Schroeder lacks the confidence required to elevate this average drama into something more substantial.

Unsurprisingly, Jackman is as perfect for Wolverine as he was when he first played the character 13 years ago. Convincing whether going berserk on a troublesome ninja or showing Logan's inner turmoil, he's a commanding presence throughout and, as you might expect, is the film's engine.

Using comedy to chase away the despair of modern life, The Other Side of Hope is a thoroughly satisfying and distinctively lovable film.

It's how the film handles grief and alienation which makes Marina's story so compelling.

Dean doubles as cinematographer and his ability to unobtrusively capture moments of village life is matched for an eye for the natural beauty the tribe lives amidst. But it's a beauty which never drowns the film. There's also room for jokes and gossip, nastiness and fun.

The Founder is a solid biopic but not one that will go down in history - unlike the multi-million dollar-making fast food chain at its core.

This is heartfelt, inspiring stuff and there is no doubt that this is a true story that absolutely merits wider recognition.

An empathetic depiction of two marginalised ways of life; God's Own Country is a deeply felt romance that harnesses the primal relationship between people and place.

Capturing the agony and ecstasy of young love, Call Me by Your Name is a major addition to the queer cinema canon - a deeply felt movie that's bittersweet, tender and true.

Bold in ambition and delicate in execution, it will break your heart and then piece it back together.

A mood piece first and foremost, Abbasi takes the intense feelings of early adolescence, and watches how tragedy transforms them.

A low-key yet complex family drama, My Happy Family is a quietly devastating portrait of what it means to be a woman in a man's world.

An exquisitely rendered study of entitlement and millennial dissatisfaction.

An ornately mounted story marked with tints of antiquarianism, The Lost City of Z is perhaps Gray's most accomplished film to date.

Blending and bending genres to highlight the elusiveness of the truth, Green's avant-garde documentary presents the audience with a wealth of interviewees, each giving their own account of how the murder was reported.

Bright light and dazzling colour dominate, as befits the Santa Barbara setting, while every scene is packed with moments that are in turn engaging, amusing, poignant, awkward, heart-warming, heart-breaking and profound.

With its depth and power, Wilson's play is a blue-collar Death of a Salesman and the music of the dialogue, with Davis and Washington at the peak of their powers, makes the whole thing sing.

Covering depression, grief and pregnancy as body-horror, the end result is a palpably unusual mix of comedy, pathos and gruesome violence

The story begins with the film's defining act and most accomplished sequence but, despite handsome execution, never hits those heights again in a plot where familiarity severely dampens the squib.

This is a sequel that advances on its predecessor in a way that's incredibly satisfying - and not only for the body count and beautifully constructed action scenes it delivers.

It's as if the writers have set out with the most basic plot imaginable, hoping to cover the cracks with distractions and colourful set pieces. It works, but the lack of depth and emotional heart is noticeable when the film hits some of its less than spectacular moments.

Given the alarming rise of far right xenophobia, a film that portrays this memorable defence against fascism and the rewriting of history, feels exceptionally timely. There are more than a few parallels to be drawn between the swagger and deviousness of Irving and another well known falsifier, President Trump.

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