The only thing Joffe's Before I Go to Sleep has going in its favour is that it's too brief to really lull you into slumber - despite its best efforts,

It's a feel good movie but also a refreshing blast from the past, expressing a nostalgia for a time when political quietism and apathy had not won the day and a Billy Bragg song made more than historical sense.

For Those in Peril isn't afraid to take risks and is full of ingenuity, but at its core is an emotive piece about overcoming a death in the family - something we can all surely associate with.

Though some artfulness is dredged up amongst the trash, there's plenty to perturb and perplex.

Witless and predictable, Plastic is about as disappointing as British cinema gets.

Short but sweet, Advanced Style goes some way towards reclaiming high fashion for all ages and backgrounds - not just the young, privileged and white.

Sachs and Love Is Strange co-writer Mauricio Zacharias craft an intergenerational love story believably told and immaculately acted.

This is a film of ideas, but it's a comedy first, and its boldness is that it doesn't aim to address a pro-choice or pro-life stance - it's about Donna just getting on with it all the same.

Its narrative might reach cliché towards the end, but powerful performances carry this fine fable of the American Dream lost in heartbreak.

When you're pining for Bill Paxton and the relative emotional realism of Twister, you know you're in trouble.

Described as a darkly comic horror movie, Cold Fish manages to defy the trade descriptions act on both fronts.

It is a demanding watch, but at the same time, Alonso's latest has a bizarre, beguiling quality which drifts towards the sublime even if it never quite gets to its destination.

Polsky keeps Red Army driving forward and the result is a film as fast-paced and bloody-minded as the sport it celebrates.

The film is both a biography of Cave's life and a beguiling vision of a musician considering the meaning of his own art.

When push comes to shove, A Walk Among the Tombstones carries its B-movie thrills with aplomb.

All of Gilliam's little details are fun and there are some laugh-out-loud lines, but the actual story itself is never compelling and simply doesn't zip as it should.

Baumbach is never likely to make a film that doesn't engage with interesting issue, but on this occasion he's made something smart and relevant that really brings the funny, arguably making this his most widely appealing film to date.

With so many elements working on such a high plain, it is ultimately a shame that The Theory of Everything remains a formulaic biopic with a scope far narrower than its subject. Still, it broaches universal themes through the story of a man who studies the universe, and succeeds in being a life and love-affirming along the way.

It makes for entertaining viewing but its power is undermined by a ultimate lack of insight amongst the debauchery.

Andersson packs his film with thought-provoking deadpan humour.

Petzold's Phoenix is a high-concept premise executed as a heart-wrenching character piece.

One feels its subject would have admired the boldness of its conception, if perhaps not its overly slick execution.

With The Postman's White Nights, Konchalovsky offers up an intimate and moving pastoral.

Despite its manifold flaws, Jackie & Ryan is still oddly watchable.

Although there is certainly tension at moments and Driver once more proves himself an actor of great promise, Hungry Hearts falls between two baby chairs - neither satisfying as a thriller nor convincing as a drama.

When Good Kill takes aim at US foreign policy and the advances in military technology, it creates moments of chilling and powerful drama, but this is dissipated and compromised by its mirror-punching domestic drama and its bizarre need to bring about something like a happy ending.

The film is heartfelt and sincere in its concern to understand conflict and the plight of good men when they're forced to make impossible choices.

A sense of humour and nostalgia are both employed successfully to skirt the potential inertia of Paul's slowly declining career, and though de Givry's performance is quietly moving, one may have just hoped that Eden would get under its subject's skin a little bit more.