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.

Those with the patience to sit through a slow first half will be rewarded with another gutsy ending.

Very dated farcical comedy but Peter Sellers is charming despite the anachronistic character-humour.

While it never quite swims beyond the shallows of its money-minded plot, this fictionalised account of the licensing battle over hit puzzle game Tetris is, for the most part, absorbing and exuberant.

A sentimental drama that's 'good in the air' and something of a throwback to war films of old.

It feels more like a ciné dissertation designed to showcase Zvyagintsev’s appreciation of the medium than an original piece of cinema.

A rather titillating take on a racy historical novel, this is perhaps too ambitious in intent. More time, or more pruning (perhaps they should just have focused on The Boleyn girl), would have produced a richer and more enjoyable film.

A caper thriller that's sufficiently zippy to hold the attention. LaBeouf's current notoriety adds extra piquancy to those urban fight scenes.

Beautifully designed and voiced, this has a solid message at its heart. But it’s a well-told tale that’s suffers from being too well-trodden already.

By eschewing fast-paced suspense Hausner takes the sting out of her story, instead showcasing a bold aesthetic sense that feels like an exciting taste of what’s to come.

With flying pigs and magical nannying, this will charm children - but it could have been a little more charming for adults.

More violent, more explosive and even bigger than the original - this ticks all the sequel boxes. But as long as Willis is in his vest and playing McClane, it's hard to care about its shortcomings.

Though it might charitably be described as "a load of old cods", there is a certain entertainment value to Murder At 1600.

A little too exactly like the original but with (fewer) memorable performances.

Offers plenty of easy nostalgia and Duris charm.

A subtle and sensual character study.

A smart, tense, well-acted thriller undercut by a disappointing finale and an occasional lack of focus. But at least this offers something for those looking for a film with more on its mind than simple set-pieces.

There are moments of comedy grandeur, but this isn't as consistently funny as you'd hope. Nevertheless, Downey Jr.'s Kirk Lazarus is instantly up there with the comedy greats.

Weir couldn't make a boring film if his life depended on it, and for any other director The Way Back would be laudable. It's good, but from this director we have come to expect great.

Considering it’s the debut of one of TV’s hottest double-acts, Keanu is a slight disappointment. But there’s plenty of funny stuff, and George Michael fans in particular should have faith, faith, faith.

With its edgy style intact, The Immortal Man never takes its eye off the Peaky faithful. But keeping the fans happy is a double-edged sword, as it can’t help but just feel like an extra-long episode rather than a standalone cinematic experience.

A brave effort from Richardson with another outstanding performance from Foster.

A sentimental but solid dependable retelling of an oft-told tale, it doesn’t do anything radical with the material but gets by on well mounted set-pieces and Ford’s grizzled gravitas.

Enjoyable enough nonsense, even if it barely cracks a smile.

Clint doing roughneck humour with an orang-utan, what's not to like?

While still a lurid sequel to a ropey slasher movie, Orphan: First Kill is refreshingly clever, unpredictable and gruesome. Isabelle Fuhrman’s Esther deserves three more sequels and a ‘Versus’ movie with the Stepfather or Chucky.

Inmate #1 might lack depths and dimensions, but for fans, this documentary is a machete-sharp glimpse into the life of a cult icon.

It may not be up there with his very best, but Aki Kaurismäki offers a reminder that he's a still one of the freshest voices in cinema.