Schumer is a gifted comedienne and shines brightly when left to run riot, make former wrestlers cry and stick up for modern-day women (for most of the time). It's just a shame it doesn't stick to its guns as it could have really been something.

The Falling's refreshingly all-female perspective expects the viewer to become wholly caught up in its broad surge of feeling, yet there's something unsatisfactory and disaffecting about the film's asinine finale.

The Gift might not smash the boundaries of genre filmmaking but therein lies its appeal; a smart, well-made thriller that balances high-minded cinema with genre thrills.

Ghost Protocol is action fluff, and on that level alone it works well enough.

By the third act all the stone-stepping plot points that get us from set-piece A to set-piece B start to wear thin.

That Sy and Gainsbourg's love story never quite inflames the heart ultimately means that Samba remains a pleasant, rather than an enduring watch.

An unconventional biopic that's masterfully executed and fascinating to watch.

Ant-Man is a smart action adventure that breathes new life into a long-running franchise, told with a level of intelligence that reminds those beleaguered by the onslaught of superhero movies that the genre still has a lot to give when in the right - if not the Wright - hands.

Terminator Genisys' ambition overrides sense and depth in the pursuit of a new direction, and then unwittingly proves how little life there is left in this franchise.

Clearly modelled on a familiar western narrative, Pablo Fendrik's The Burning (2014) both embraces and playfully inverts the tropes that define its genre classification.

The film does have a few merits, not least the cast being on great form and the script is, on occasion, very funny.

An expertly handled and brilliantly performed feel-good comedy with an original twist.

Its stately pace doesn't preclude Mr. Holmes (2015) from being a delightful romp all the same.

From Pteranodon's dive-fishing to Raptors pack-hunting, Jurassic World is in its element when it's using its assets, and though they can't recreate that awe of twenty-two years ago, this is finally a sequel worthy of the title.

Most powerful of all is Gulpilil's performance. His presence at the centre of the film is one of anger, humour and ultimately resilience.

Black Coal, Thin Ice is a majestic neo-noir.

Insidious: Chapter 3 is unquestionably lightweight material and really all down to the pleasures of ghost train frolics, but such are the uncomplicated joys of the horror movie.

San Andreas' whirlwind of action and devotion to the disaster movie playbook will satisfy those looking for a loud, effects-filled ride. Those inspecting it any closer will find a cookie cutter studio blockbuster which stretches disbelief to its limits.

Rams is a truly remarkable, eccentric work.

An unnecessarily loud ending is an unwelcome jolt that will likely divide audiences down the middle, but Chronic is an otherwise unique character study of endearing depth.

Like the Barry Lyndon of martial arts movies, every shot has been composed, lit and executed with such care and attention by Hou and his cinematographer Mark Lee Ping-Bing that The Assassin is totally absorbing in its spectacle, from the meticulous details of the interiors to the astonishing, breathtaking locations, from forests and waterfalls, to mountainsides and in one unforgettable moment cliff tops.

Son of Saul is not simply a good film, it feels like an urgent and important one, a warning from history.

As every section seeks to deepen and complicate the basic message of Mountains May Depart - that the incredible speed of technology and society has its prices and dangers - and the failure of the final section dilutes where it should intensify.

Artfully, his films tracks the tragic decline of a good man gone bad, who finds murder too insignificant not to do again and again, a worthy addition to William Shakespeare's ever growing filmography.

The Measure of a Man is solid social document that offers insight into quiet lives lived by those who don't give in - despite every good reason - to desperation.

As fate closes in on the lovers, the silliness of their own behaviour and Marguerite & Julien in general prevents any pathos from entering the scene. The taboo of incest never troubles as one never truly believe that they are brother and sister - or in love - or anything else.

Mon Roi is one of the best films of the year and an impressively realistic depiction of the highs and lows of love.

Mia Madre is an intimate and sincerely made family portrait, which ends up betraying its own indifference to anything beyond the confines of the family.