Boyle has made an admirable effort that captures the melancholy of being right back to where you started from. But it's not what it used to be - or what it could have been.

It mostly holds together, but you'd have to hope that David Brent: Life on the Road represents the farewell tour.

My Father, Die's pummelling violence and existentialist leanings would be too absurd if set in County Kerry or County Mayo, but the doom-filled lyricism - its bloodied, weary soul - might best be described as Beckett with gunplay.

Its lasting resonance and wider humanitarian message is diluted by a second half that drags it down.

Watching the goofy boy develop into a man, we share in his experiences and root for him each step of the way.

Starless Dreams is a fascinating and humane view of the marginalised and forgotten. The girls' voices rise as a startlingly powerful chorus, questioning, challenging and demanding we listen.

Though Anna and Otto's story is undoubtedly a fascinating example of the necessity of resistance and Perez is clearly a skilful director of actors, there's something anticlimactic about Alone in Berlin.

Fares' film doesn't ever quite hit the same high-octane levels as its petrol head subjects but it is nevertheless a very unusual and encouraging representation of social change, defiance and self-determination.

A chilling expose of state-sponsored cyber warfare and the enemy within.

Challenging, daring, provocative, disgusting - We are the Flesh is all those things and then some, but also superbly crafted and always visually compelling.

The Son of Joseph is nothing short of marvelous. A modernised tale of literal Biblical proportions that will make viewers reconsider what defines paternity, family, and their place in the world. But don't worry: that's a good thing.

Johnson is pushing the audience to see these images as a dialogue between herself and these subjects, both in the frame of her representation of them and their impact on her.

Molero's film is a challenging and truly contemporary work: a forceful, if imperfect, look at the shifting sands of digitally-mediated reality and the people balancing on its surface.

It's a film swimming in symbolism, transgressive eroticism and perplexing details that will infuriate some audiences but for others will add to its irresistible allure.

This is a punchy and promising debut from Pront.

Whatever strange alchemy went into this film, nothing is so strange as how compelling it proves to be when you approach its premise with complete seriousness.

Szabolcs Hadju's It's Not the Time of My Life is an engrossing, poignant and often very funny study of marriage, family and child rearing.

Behemoth is a stunning and moving denunciation of the situation in Inner Mongolia, where the mining industry is permanently changing the landscape.

A minor miracle in and of itself, Edwards' Rogue One somehow delivers on almost all of its weighty pre-release promises whilst at the same time besting The Force Awakens for sheer spectacle and world-building.

If we allow ourselves - as Scorsese asks us - to place ourselves in the shoes of these priests, then we have a graceful film of stoic power, which wrestles with the very nature of faith.

Abattoir doesn't have a jaw-dropping...shock scene, but the ending does pack an emotional punch, of a type so few and far between in the annals of horror cinema.

[Miles Teller] does dogged, unerring determination very well and makes Younger's film an engaging rollercoaster ride.

Striking a balance between the dark and combative religious humour and its more saccharine elements proves difficult.

A Woman's Life is a modest chamber piece, a series of sketches revealing a life of quiet desperation, which eschews melodrama and, for the most part, platitudes but exhibits great tenderness and sensitivity.

The film itself is fairly conventional given the wildness of its subject matter and Jim Jarmusch's pedigree.

A United Kingdom is a solid, competently made and gorgeously photographed film, but its exploration of complex issues - race, gender, politics and affairs of state - feels rather safe throughout, their full impact and import somewhat dialled back.

Not only is the film a compellingly told tale of suspense and terror, but it's crafted with such precision and sense of timing that one can cry "Masterpiece!" without being shamefaced or wondering if a hyperbole-induced crime against all good sense has just been committed.

You don't have to like a piece of art to appreciate the artists vision. Terrence Malick has created a beautiful and ambitious meditation on memory, childhood and the nature of being.