Once again, it’s an unadulterated pleasure to watch Chan and his stunt team at work, jumping, contorting and throwing the human form around in ways that simply don’t seem possible.

Petzold struggles to keep hold of the reigns, wielding the effects of melodrama with little to no precision or psychological acuity, and leaving the essential romance at the heart of the story to be rendered almost entirely unbelievable.

A bold and colourful, but by no means superficial portrait of femininity, Daughter of Mine successfully embodies a set of ideas – and anxieties – about motherhood that eloquently reflect a contemporary need to reevaluate the traditional family unit.

This deeply felt Paraguayan drama shines a light on the nation’s fractured identity by crossing numerous generational and class divides.

Ginghină makes for a wonderfully eccentric subject, and the ardour with which he elucidates the intricacies of his project to Porumboiu is both hilarious and tragic.

No doubt many will find German’s approach pretentious and overly repetitive.

A display of dazzling and disorientating technique, this interior tale of a young girl’s mental disintegration is like falling through a hall of mirrors, with each performance reflecting and refracting a portion of Madeline’s personality as fantasy and reality become impossible to separate.

Danish singer and actress Trine Dyrholm plays the diva with verve and energy, in a portrait which is also something of a reevaluation.

Kore-eda has unquestionably added a new, intriguing angle to his meditation on family life in contemporary Japan.

Teemu Nikki's Euthanizer reveals itself to be an affecting examination of cruelty.

With Custody, Legrand has created a family drama that plays out as social realism, but it is as intense as a thriller and, with no generic get outs, far more terrifying than Kubrick's The Shining.

The key here is the perfectly-cast Wilson, constantly swimming against the current of her own harrowing memories, often telling more in a single glance than her sporadic utterances to her similarly-broken brother ever could.

Accomplished as the filmmaking is, on a certain level the directors’ good intentions fall flat, resulting in an often clever but fundamentally flimsy comedy.

Côté employs a methodical reticence that often leaves the viewer guessing as to the significance of the images we are seeing.

Mary Shelley is a film at relentless pains to tell us how poetic and ethereal its heroine is, but without remotely grasping the political and philosophical underpinnings of her work.

Hawke's performance is his most mature to date, a masterpiece of a man who cannot work himself out and yet is compelled to try.

Character and psychology aren't really the point here. Bozon's world is one of adult grotesquerie splatting against the wall of youthful hostility.

Much like young Jeanette, there is no compromise in Dumont's vision that mixes the irreverent and the austere.

With LaBeouf giving the performance of his career and a well-told story that hits all the right beats, Borg vs McEnroe may just well go down as a great tennis film.

Sadly, the intriguing set up - along with Del and Bonnie - is left behind for a too nakedly state-of-America musing, with everyone Charley happens across having some social ill to portray.

The film that made Jackie Chan an international star, Police Story fully embodies the martial artist’s spirit of entertainment – equal parts endearing, goofy and packed with eye-popping kung fu action.

The film can't be faulted for its attempt to argue for some kind of humane kinship and reconciliation, even if this attempt ends up dissolving the enmity in a sentimentality that, given what has come before, strains credibility.

Youth is as sentimental as it is accomplished, but Xiaogang's mastery both of broad sweep and intimate detail proves an impressive feat.

Foxtrot is a bold and imaginative portrait of the confines of family.

Tom of Finland is imbued with playfulness but not the cutting edge, and bravery, of its eponymous leading man.

Brawl in Cell Block 99 is a midnight movie to relish.

It's a muted affair all in all; the script thin and relatively drama-free, which proves irritating considering the assured performances and flashes of brilliance that do flair up.

The measured narrative and anti-climactic finale do mean that Mystery Road doesn’t pander to all tastes, and it never conforms to thriller conventions, but Sen has undoubtedly succeeded in fashioning a thoroughly engrossing journey into a modern Australian wilderness that’s well worth seeking out.