Never reaching the heights of Malick’s ’70s heyday (what does?), Song To Song represents some kind of return to form following Knight Of Cups. It won’t convert the unconvinced, but it is beautiful, melancholic, audacious and well-played, a refinement rather than reinvention of a singular filmmaker.

Part wildlife documentary, part urban love letter. Kedi may only be a slender 79 minutes long, but it’s a lyrical and surprising philosophical tribute to the therapeutic power of pets.

Telling an unfamiliar tale in a highly predictable manner, this is a laudable, but lightweight tribute to golf's founding fathers.

Full of character-based suspense, it’s dramatic and ramped-up with tension. Existing between a Sundance and a FrightFest film, this is a challenging, horribly plausible future vision.

Coppola’s most traditional film to date is a heightened, darkly comic, sexually tense drama that flips the male gaze, to show what happens when a man, for once, gets caught in the crosshairs of desire.

Old School with added poker chips? Perhaps. But this Ferrell and Poehler-powered comedy blockbuster has big laughs, an enjoyably grisly streak, and a film-stealing turn from Jason Mantzoukas.

Sir Richard Attenborough's long-in-the-making account of the life of Sir Charles Chaplin is a film you desperately want to like, but it emerges as a big, shiny, old-fashioned biopic that ultimately fails either to illuminate the genius of its subject or to excite as a story.

Apart from the odd titter, this is a sound formula suspense movie with spiffy set piece thrills, directed with assurance by Dead Calm's Philip Noyce and attractively played by the plausibly anxious principals.

The characters and scenarios are familiar, but this is a loose, cool, funny remix that makes them feel fresh again.

Given that this is the first whacky comedy to come out of the Gulf War it’s a shame the whole enterprise isn’t a lot more tasteless, but the half-funny goings-on give that the script has been tailored not to offend a military machine on the point of massive war, perhaps at the expense of unpatriotic laughs. That said, it’s a pleasant enough time-waster, and doesn’t drag on too long.

One of Tom Hanks' overlooked performances because this bizarre thriller-comedy ends so strangely but there's much to like here.

Whoopi's affable clowning aside, this film has little more than the title and the bad-mouthed postponement of cliche going for it.

Even if the film takes a moment to sheepishly acknowledge its more offensive gags, it’s still asking for laughs from them.

Bay’s genuine determination to give you a good time still doesn’t result in fun. Overlong, overstuffed and soulless, for fans who grew up with Optimus and Co, The Last Knight will sting like a bee.

The third Despicable Me film chronologically is also the third-best in terms of quality. But it has just enough energy and flashes of inspiration to suggest it’s a franchise that could run and run.

The conflict here is one of morality, identity and the boundaries of humanity; all the guns and napalm, while present, are secondary to War’s purpose.

After a gentle engaging start, The Book Of Henry makes an ill-judged move into thriller territory. But the performances, especially from Jaeden Lieberher, are strong and it delivers that rare cinematic treat: a real surprise.

A fascinating but flawed portrait of a fascinating but flawed man. However, with Cox so good, it’s a surprise Churchill isn’t being held back until awards season.

A well-made Euro pudding, Alone In Berlin, like The Book Thief, can’t find the depths, darkness or daring to stand out.

A pot-bellied fable unlike anything else you’ll see this year. Not since Babe has an adorable porker inspired such peculiar joy or unexpected heartache.

A gorgeously rendered and deeply personal portrayal of a young woman’s life in the part of the world where history’s greatest conflict reached a devastating conclusion.

Holm’s well-judged adaptation of the bestseller keeps the maudlin to a minimum and plays the black comedy just right. A strong contender for feel-good film of the year.

An awe-inspiring piece of filmmaking from Edgar Wright that plays out as a musical through the lens of an action thriller. Sweet, funny and utterly original — you won’t see a film like it this year.

This slight, modestly sweet and mildly charming affair squarely aimed at the older cinemagoer is just the bill for those seniors’ matinées where the ticket comes with a cuppa and a biscuit.

Despite a wonderfully witty voiceover and the bullish playing of a willing ensemble, this bawdy romp consistently stumbles over its more contrived excesses.

It's more than a little precious, but it's also sincere, touching and astute in its insights into social geography and human nature.

Good intentions, but far too earnest to appeal to anyone beyond those who believe you can fight a true crisis of the soul with a campfire and some Kumbaya.

Warm and heartfelt performances from the two principals are undercut by a formula that too readily reveals the outcome. Interesting workings fail to fully add up. Must do better next term.

An informative but incomplete look at Whitney Houston’s life and death, this will frustrate fans as much as it fascinates them.

You’ll long for a slightly smoother animation style (Pixar won’t be quaking in their boots), but this surprisingly fun yarn will undoubtedly have youngsters reaching for the nearest guitar.

With its bestial themes, conceptual humour and cartoonish thespians, this consciously arch farce will intrigue some and infuriate others.

Handsomely done but short on the atmosphere and passion of a genre classic.

An odd but frothily entertaining genre cocktail, which coasts on the charisma of its two biggest names and keeps things just fun enough to forgive its considerable lapses in narrative.

As Diana, Gadot is excellent, a rocking electric cello riff in human form.

Tonally, Baywatch veers all over the place like a drunk on a speedboat, making for one of the most lacklustre comedies of the year so far.

A winning double act never quite gels in a fish-out-of-water road-trip caper — think ‘National Lampoon’s Gringo Vacation’ — that leans hard on its stars’ charms and very lightly on coherent plotting.

Not the return to form you might have been hoping for. Its story might cover all the same beats as the 2003 original, but there’s little of that film’s spark or spirit.

Hard to root for but mesmerising to watch, Sloane is expertly portrayed by Chastain in this dialogue-heavy lobbyist thriller that should please fans of both actor and genre.

Ozon’s latest is a twisty-turny post-War mystery — think ‘A Very Long Bereavement’ — that boasts a kaleidoscope of quiet emotions. It unfolds slowly, but rewards patience with strong performances and a swooning third act.

Unflinching in its depiction of rural reality, this may be a dour drama, but it has been made with sincerity and an exceptional sense of place.

Made on a budget that would just about cover Kong’s left bicep, Colossal is cool, smart filmmaking, with plot developments that will be talked about for a long time to come.

A maudlin adaptation hampered by low energy and lapses of logic, The Secret Scripture does a disservice to the book it is based on, and the Irish history it plunders.

Though stuck with stretches of guff and looking all too convincingly like video-era rubbish TV, Mindhorn delivers regular proper laughs and eventually wrings just enough drops of pathos to scrape by.

Although it flickers to life at times, King Arthur: Legend Of The Sword devolves into a jumbled affair, weighed down by confusing supernatural elements and a lazy reliance on visual effects.

The story is programmatic and the indie stylings feel tired but Handsome Devil is a winning, enjoyable call for individuality. And Nicholas Galitzine and Fionn O’Shea show promise for the future.

Innately sweet, due to the high number of fluffy animals, but it has the gloopy emotion and silly plotting of a Nicholas Sparks novel. Nicholas Barks, if you will.

Verdict Spies, terrorists, remote-controlled bombs… Unlocked’s components are all too familiar, and it doesn’t put nearly enough effort into making them feel fresh.

An upgrade from Prometheus, Alien: Covenant amps up the thrills but doesn't deliver a memorable crew member or the full-on onslaught of the series at its height.

A compelling story bolstered by engaging performances from Jessica Chastain and Daniel Brühl, let down by occasional awkward tonal shifts and clumsy plotting.

Sand Castle does a respectable job of depicting a wretched conflict that none of its participants wanted, but its reason for being feels a little built on sand.

Undeniably effective, in its own blunt way, this deserves credit for shining light on a crime that’s — unbelievably and controversially — still denied to this day.

This intelligently scripted and imposingly played costume noir revisits the conventions of Victorian melodrama to comment on modern attitudes to oppression, prejudice and morality.

Even when the pixels threaten to overwhelm, Gunn finds refuge in his main characters. There’s plenty to enjoy here.

This is a harsh, unsentimental science fiction film, though the performances suggest small surviving flames of empathy and yearning amid the tough, practical attitudes.

Scuppered by a lazy script that fails to effectively build tension, Unforgettable lives up to its name, but not for the right reasons.

Anchored by a superb Gemma Arterton, Their Finest is a funny, winning, beautifully acted ode to working women and cinema.

A brutal, bloody battle royale that glides along nicely until a disappointing dip in the second half. Still, there are plenty of positive results from this experiment, especially for gore fans.

More "Moonlight" than "Twilight," The Transfiguration is a defining vampire film of the mid-2010s. An acutely observed study of social/emotional deprivation, but also a gripping, disturbing horror movie. And, yes, it’s ‘realistic’.

This Cannes favourite regards Egypt’s recent political uprisings from a fascinating new angle. A minor masterpiece of claustrophobia and expertly managed tension.

Overcoming a shaky start, this low-budget rom-dram rewards patience, with a fine cast delivering strong work. Accept the invitation.

Thoughtful, emotional and often surprisingly funny, Terence Davies offers a rich if inconsistent portrait of a unique poet long deserving of a big-screen study.

Fast 8 is more of the same, more or less, with the emphasis heavily on more.

Charmless and saddled with disastrous flashbacks, this doesn’t have the street smarts to play its strongest hand. There’s a great film in here struggling to get out, but the definitive London noir still remains unmade.

We’re all for true, inspirational stories of courage in defiance of evil. But sheesh, this World War II drama is at least as irritating as it is uplifting.

Despite the all-star trio and the rare joke that lands, Going In Style never hits its stride as a warm-hearted crime caper.

A microwave meal of a kid’s film, consisting of tired tropes and bland platitudes. This particular village should have stayed lost.

A little too derivative to truly stand out, but gorehounds will love it. Don’t a void.

Peck’s film may have been an Oscars bridesmaid but it turns Baldwin’s prescient words into a staggering achievement. It’s an exhilarating blast of focused fury.

A classy French-Belgian horror with an unusual female perspective on monstrous taboos. Shocking but not sensationalist, this is a strong cannibal movie worth chewing over.

An unusual and richly enjoyable love letter to a fellow artist and Chilean, Neruda further marks out Larraín as a director of serious range and ambition.

A handsome and well-acted rumination on memory, boyhood and ageing that sees Ritesh Batra deliver a solid rather than inspired interpretation of Julian Barnes’ prize winner.

The Handmaiden is at once a superlative thriller and a deeply erotic character study, but it’s the intelligence, mordant wit and depth of characterisation that are the real turn-ons.

There is a frustrating absence of personality which means, for all her physical presence, this Major’s just not very engaging. It’s more a problem with the film than Johansson herself. A case, if you will, of it being so preoccupied with the shell, it forgot to bring enough ghost.

An old school romantic thriller that lacks the subtleties and sophistication of recent spy storytelling, be it on the big screen (Bridge Of Spies) or small (The Night Manager).

Featuring strong work from LaBeouf, Man Down is a fascinating example of how a powerful performance and good intentions can be derailed by a misguided concept and flawed execution.

Although replete with creepy shocks, this lacks the narrative finesse to match the committed performances and slick visuals.

With the camera placement being as meticulous as the use of Handel on the soundtrack, this impeccably played saga deservedly earned Mungiu a share of the Best Director prize at Cannes.

Featuring excellent work from grandstanding Cox and just-lying-there Kelly, The Autopsy Of Jane Doe creates a successful feeling of mounting dread punctuated by crashing thunder and surgical viscera.

Yes, the premise is a bit threadbare but this is an intimate, lyrical documentary that offers a subtly effective snapshot of life as a young woman on the threshold of adulthood.

The Boss Baby is hopped up on energy but never harnesses it effectively. There are laughs and heart buried in this idea somewhere. Shame the film is too hyperactive to find them.

It’s just a waste. The premise is ripe for absurdity and the talented supporting cast have interesting quirks that might have livened things up if Shepard ever gave them the chance. Instead, aside from a few surprisingly gory moments, this makes the original show look good.

This is a film full of scenes that would be easy to overplay, but which Schwarzenegger tackles with understated perfection. Truly, this is quite unlike anything else he’s ever done, and brilliantly so.

Atmospheric and engrossing, this meticulous recreation of time and place acquires an unsettling contemporary relevance through its analysis of the mindset of a mass murderer with a death wish.

There is fun to be had.... But it essentially feels like an overlong, mega-budgeted episode of a Saturday-morning serial.

Part Alien, part Gravity, just not as good as either of them. But Life whips along at a decent pace and deploys enough engaging action sequences to make it work.

To call it the most important movie of the year so far makes it sound possibly rather worthy. That’s not true at all. Get Out is a comment on a highly complex situation that’s also a total blast.

A Hitchcockian Poltergeist meets Single White Female, it's exactly as confused as that sounds, but just as intriguing. Stewart shows she’s now one of the most interesting actresses of her generation.

Played with committed ferocity by the excellent Oh and Heche, this riotous state-of-the-nation satire may lack subtlety, but it has the courage of its socko convictions and certainly packs a punch.

Solid and stately, a ’70s-feeling jungle adventure film that’s more of a thought-provoker than an excitement-inducer. But there’s nothing wrong with that.

Those who predicted this wouldn’t hold a talking candle to the animated original will be pleasantly surprised. The tale may be as old as time, but it’s retold with freshness, brio and flair.

King Kong lives! But only just. This is an uneven adventure that’s saved by the spectacle of its towering title character and the various beasts with whom he shares his island home.

The plot pieces might slot into place with a resounding clang, but what it lacks in finesse, this brutal actioner more than makes up for in bullish bravura and technical slickness.

A high-altitude horror – think a Bram Stoker reworking of *The Shining* or Shutter Highland – of real craft. Ultimately, though, the plot turns out to be thinner than the air.

A languid, leisurely paced drama. Not much happens, but Reichardt’s light touch and the performances of the leads make it soar.

The third part of Berg’s unofficial Americans-in-crisis trilogy will play better for US audiences than overseas, but it’s still a pacy and often enthralling disaster movie.

When it comes to playing a properly magnetic anti-hero with a gruff ’70s-cinema exterior and a dark reservoir of inner depth, Jackman really is the best at what he does.

It’s glossy and at times goofily funny, mostly thanks to Johnson’s subtle comic skills, but the novelty of this messy relationship is really beginning to wear off.

An interesting premise fails to ignite amid an underwritten central romance and some clichéd plotting. An often eye-rolling ride.