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.

There are few surprises on offer here; the comedy is engaging without ever being side-splitting, the dramatic conflict convinces without going overboard, and the denouement, feelgood as it is, can be spotted a long way in the distance.

With good performances and characters, Beginners is an enjoyable, amusing and occasionally poignant watch. Indie film fans will want to catch it, but it falls short of being a must-see.

Starve Acre is sometimes overly derivative as a folk-horror — but Daniel Kokotajlo’s second film crafts a sinister Yorkshire, replete with impressively gnarly special effects and a strong performance from Morfydd Clark.

A curious mix of Britpop music cues and moppet-bait storytelling makes for a diverting, if derivative kids' animation.

A beautifully designed but overly formal biopic that can't match the greatness of the artists it depicts.

The fuzzy thinking allows for gorgeous outdoor photography and a few too many dead spots, but Seagal the director shows real muscle by staging one of the screen's best-ever exploding helicopters and allowing Seagal the star to spit out tough talk, as when he refuses to shoot Caine because, "I don't want to dirty my bullets."

For all its formula, Instant Family is a winning confection, unafraid to go to unexpected dramatic places and elevated by Byrne’s gift as a comedy foil and Moner’s lively but subtle turn.

It's a puzzle as much as a plot, but when it's in focus (which it isn't for long stretches) it's remarkable brain-food.

Written in part by David Mamet, Wag The Dog is a lovely idea, with credibility buoyed by its incredible timeliness. But, content with its initial premise, the movie lacks the necessary bite to develop the satire further, to the point where it's difficult to spot whether Washington or Hollywood is the target.

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 solid, old-fashioned Irish Western about what it means to hang up your rifle. It isn’t especially deep, but it’s good to see Liam Neeson find some character depth among the usual shooting and grumbling.

Its kids-say-the-funniest-things gags become one-note, but Good Boys has consistent laughs, winning performances, and a dollop of sweetness to boot.

Though it could do with being weirder and wilder, this high-concept mash-up — what if crooks robbed a haunted bank? — features fine work from a brace of rising stars.

For all its faults, the good-natured, quirky humour that this for the most part offers ultimately makes it very hard to dislike.

Lincoln meets Sudden Death: a corny but raucous throwback to when Planet Hollywood was hip. Gary Busey popping out of a rose bush wouldn’t feel out of place.

It never scrapes the heights of Jackson’s trilogy — few do — but amid a messy meeting of worlds, there are stirring moments.

Saturday Night Fever by way of Strictly Come Dancing, Frost’s solo movie lacks the inventive madness of his Cornetto team-ups, but it’s still a heartfelt blast of fun.

Fifty years after he first appeared, Donald E. Westlake’s antihero may have found his perfect avatar. Like Parker’s robberies, it isn’t entirely successful, but Statham and Lopez make enticingly mismatched partners in crime.

Effective jump-shocks and a strong turn from Eddie Marsan mask an over-complicated last act.

Not one to let slow-building tension and mystery get in the way of wild flourishes of extremism and shock, Ken Russell hit upon a story that more or less handled his structural excesses and tendency toward blasphemy.

A simple, effective thriller, Copshop doubles down on pulpy, ’70s-styled fun. It proffers little that is novel but has enough vim and vigour to compensate.

Paul Feig is mostly back on form with a likeable, frantic, murderous, madcap money-grab of a high-concept comedy. It could be funnier, but it rarely stops for breath.

With jokes that routinely miss the mark and cringeworthy slapstick, this black comedy farce shouldn't work. Somehow, though, it does.

The action is first-class, and Brad Pitt and Aaron Taylor-Johnson are having a blast — but with all that hyperactive style and cartoonish violence, you’ll be ready to disembark by its final destination.

A flowerier adaptation of the Scott Spencer romance than Zeffirelli's '80s version, it's tailor-made for the Nicholas Sparks crowd.

An impassioned and imperfect portrait of teenage grief and heartbreak, Chemical Hearts takes its audience seriously. For every teenager who has ever felt alone, this feels like a tailor-made care package.

Ron Howard’s genial account of the legendary Muppeteer plays it safe, with a fairly traditional documentary-making approach — but it still manages to be adequately inspirational, celebrational and, yes, even Muppetational.