The nighttime tungsten orange of the street lighting and the urine-coloured neon of the interiors makes for a grueling visual experience which is why the daylight of the latter-half offers precious relief.

Following the disappointing period dalliance of Jimmy's Hall, Ken Loach's latest I, Daniel Blake is something of a return to form. It stands as a succinct and furious raging against the dying of the light, or more accurately the snuffing of the light by a privatised and punitive system more intent on lowering the figures than caring for those in need.

The film reveals its twists and turns with a delicate hand and always manages to stay one step ahead of the audience, even as most of those watching will surrender to the hypnotic erotic charge that runs through the film.

The material is weak, overly familiar and cliché-ridden. Dolan throws the cinematic sink at it but his latest feels like a shorter, not particularly watchable sequel to August, Osage County.

Despite treading some familiar territory, British director David Mackenzie's new film Hell or High Water proves itself a brilliantly executed, sharply written genre gem.

As Personal Shopper progresses a rather predictable series of twists almost drain the story of interest.

American Honey ticks off all of the indie clichés. Fireworks? Check. Standing up in convertible with your arms outstretched? Check. Grubby children? Check. But all of this could be forgiven, or at least put up with, if the film wasn't so long and meandering.

It should confirm Nichols' reputation as a mature filmmaker of great tact and intelligence.

The fact of the matter is that Refn has now become so predictably shocking that the truly shocking thing for him to do would be to make a film without attempting to shock.

A run-of-the-mill, plodding drama, the 'social realism' of which never feels particularly real.

There are numerous delights for the patient and the two leads give prize-worthy performances but at just under three hours this is one drawn-out gag that almost outstays its welcome.

Carney, who wowed everyone with Once, has a knack for this kind of film. Sing Street promotes his best attributes, and succeeds in delivering toe-tapping, head bobbing thrills, heartfelt, if cheesy romance and big laughs.

The problem is that Apocalypse's highlights feel like moments of serenity amidst two-and-a-half-hours of lumbering, inconsequential chaos.

The Nice Guys could well mark the beginning of a beautiful friendship. Black has really thrown the kitchen sink at his latest project and it all works tremendously. Let's hope there's more to come.

Richard Linklater once again casts his outwardly laid-back yet deceptively astute gaze on those loitering around the edge of adulthood with Everybody Wants Some!! - a joyous and often uproarious portrayal of college-age adolescence and the alluring freedom that brings.

A triumphant debut feature with an important message that masterfully balances its personal and political concerns.

It's a finely made thriller that's a little bit more contemporary than other le Carré adaptations before it, and allows the central trio a chance to shine and Lewis to do some weird things with his accent and mouth as a weirdly laid back and unconcerned British agent.

For anyone with at least a vague interest in the history of art, Troublemakers offers a fascinating if uneven viewing experience and a valuable record of a movement whose boldness still has the capacity to impress.

Weiner may now regret allowing such intimate things to be filmed - indeed he has publicly said that he won't be watching the film - but Kriegman and co-director Steinberg have crafted a hugely lively and compelling portrait.

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

There are moments of real wonder and delight and Quentin Blake's original illustrations are occasionally glimpsed in the set ups. This isn't an epic of visual wizardry and there's zero irony or clever wit. Rather, Spielberg's latest is an old-fashioned children's tale told simply and with plenty of heart.

Eisenberg avoids, for the most part, doing a Woody Allen impersonation, but his bumbling guilelessness is wearing and Stewart seems out of place, unable to ever quite get over being Kristen Stewart in a Woody Allen movie. In fact, both young leads seem nervous to have been invited and often appear simply pleased to be there.

Plá's film is a caustic, genuine swipe at a selfish and insincere society which is content to make money from the suffering of ordinary people.

Captain America is simply awful. It is another hour and a half of prologue to the film people are apparently waiting for - The Avengers.

Bad Neighbours 2 is a smart and worthy continuation of this comedic battle of the age-groups with a cracking takedown of "super rape-y" frat boy culture, where every themed party is 'bros and hoes', and makes a stand for female empowerment, all the while serving up belly laughs, rehashed-but-still-brilliant airbag gags and feminist-inspired gross-out acts.

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

Even with many of the original voice cast involved it's a tired effort that sadly - and it really is sad - doesn't live up to expectations.

The Wait consistently defies common sense in order to sustain the thin narrative.