There's no doubt that the people that Fox singles out are worthy of his cameras attention, but it doesn't equate to a coherent feature film as much as an enormously wasted opportunity.

Wedding Doll may be a small film, but it's deftly executed and built on two remarkable leading performances.

While there is the odd bum note, The Jungle Book is an immersive, visually breathtaking family adventure and a welcome addition to their new spate of live-action reimaginings.

The slow burn lead-up may not be to all tastes, but if you can tune in to its broadcast frequency Midnight Special will shine its light on you too.

The dénouement when it comes doubles down on the madness and 11 Minutes is never boring, but neither is it quite as revolutionary as it thinks it is.

Husson sketches teenage ennui well, and crafts complicated and watchable characters around which to base the core of her drama. The slip-up comes in a final act that bows out of the previously constructed conflict in disappointingly obvious fashion.

In many ways this is an adult Frozen with Gothic sensibilities by way of The Lord Of The Rings, making for a derivative pastiche of the past two decades' cinematic fantasy offerings.

The stakes are upped and character count doubled, but this doesn't mean attention to detail is spared. The visuals are sublime with different animation styles used to tell different stories.

Everything looks incredible, but the players are all just ciphers for ideas that Snyder lacks the wherewithal to execute.

As with all of Farhadi's films there's a frailty behind his characters, with their insecurities and moral dilemmas bubbling to the surface as the director slowly raises the temperature in this pressure cooker of domestic strife. Nervous editing and sinuous cinematography also give the impression that Farhadi is choreographing his stars rather than directing them.

As this is only inspired by the real events, there are perhaps one too many threads neatly tied into a bow, but all of them work in concert with the main event.

For much of its brisk eighty-two minutes running time, Emelie (2015) is a devilishly good thriller of notably transgressive bent, giving the slasher and home invasion formats a rare matriarchal focus.

When everything comes full circle, Marguerite is an enjoyable comedy with hints of dark satire and tangy melodrama.

Sweet Red Bean Paste is a modest film which seeks profundity in the detail of life.

Grimsby fails in its satirical mission due to a hodgepodge of generic action and ill-advised comedy.

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

Although Mavis! doesn't quite have the same scope as the extraordinary vocal range of its magnetic, all-round wonderful subject, her zest for life, exuberance and good nature have clearly rubbed off on Edwards and it's likely they will on audiences too.

Triple 9 becomes a victim of its own inane script. All the usual cop tropes are there - and that's part of the problem. Rarely does screenwriter Matt Cook throw anything at the page that hasn't been done better elsewhere.

A fluent, confident and deeply felt work by an astute chronicler of life, Things to Come considers the fragility of ideas when exposed to the eroding force of time in beautifully humane fashion.

For a film that vocally questions convention, it's perhaps a shame that Miller and co. played it so safe with a fairly cookie-cutter origin story, but it's really just there to give Reynolds ammunition to riff on. Whether the studio might be willing to push the character further into the leftfield in the future will depend on whether Deadpool warrants sequels.

Nina Forever is a brilliant, intelligent and emotionally rewarding debut feature.

The Hateful Eight is easily Tarantino's most fantastic film in terms of its visuals, its period detail and its award-worthy score, but it suffers from the director's common pitfalls while lacking the verve that so often carries him through.

As one voyage turns to two, three and then four, Ice and the Sky feels increasingly formulaic in structure; however, it remains a thorough and fitting tribute to an extraordinarily dedicated and humble individual with an "incontestable message".

Though there's an awful lot to be admired - not least an enormously impressive soundscape - The Revenant ultimately lacks the nerve-jangling thrills or the spiritual resonance that it strives for.

The languorous pacing - particularly in the middle section - may lessen the impact on audiences somewhat, and the two-hour runtime seems a little much, but this is important, harrowing and deeply heartfelt lament that deserves to be seen and most definitely heard.

It's a banana flambé with extra rum that brazenly throws together folksy storytelling, arch soap opera melodrama and a typically eccentric cast into a golden Hollywood crack at the American Dream.

Touching sensitive nerves a little tentatively when a firm prod would have been preferable, Bolshoi Babylon dances around some of the harder issues at hand, remaining inquisitive rather than intrusive and asking more question than it answers

A deliberate almost-thriller that provokes many questions, but leaves answers equivocally out of focus right through to its conclusion.