It's worth watching, though, for Minnie Driver, whose luminous performance as the governess in question struggles to save writer/director Goldbacher's film from the doldrums.

Bird and Lindelof have thrown everything they have at this film and, aside from a pause for breath at the end, they’ve made something funny, surprising and packed full of wonder.

Every motion, from the clamour of the racetrack to the sparring of teacher and pupil, has been worked out for audience satisfaction and grants none. This is not a real film, it is an automaton, a pod-movie, and, thankfully, proved the death nail for such high-concept filmmaking.

Elba’s performance as a lonely Djinn with a bottomless reserve of charm, paired with Miller’s unbridled energy, make this a modern fairy tale worth seeking out.

A worthy — if chilly and difficult — addition to the sadly extensive filmography of American mass murder. The soundtrack from Canadian singer-songwriter Maica Armata adds some much-needed heart.

It’s a short-film premise at a feature-film length, but few films take as many chances or go for broke as much as Jumbo. Wittock is an exciting new talent to watch, and Merlant spins something potentially laughable into a rollercoaster — or at least, waltzer — ride of emotions.

Netflix wants to prove it can do what Disney does – and it more or less succeeds. Vibrant and heartfelt with tunes to boot, there’s plenty of love in Over The Moon.

It’s vivid, substantial and works hard to be worthy, but as it ticks off the milestones of a monumental life it flickers more often than it really catches fire.

The blood and gore is all present and correct, but the focus on Kramer's vulnerability and human side sits at odds with his awful judgmentalism. Let monsters be monsters.

Good fun, and though it breathes hard in the second half, the ensemble has charisma to spare.

Plenty of pungent ideas and a nice line in urban terror. The final product falls short of the best in Brit horror, though.

This modern riff on Monster Squad is a very pleasant surprise, and so ’80s in spirit that it’s a shock one of the villains isn’t a giant Rubik’s Cube.

It won’t win points for originality or sophistication, but this is another muscular, well-pitched heist thriller with strong character work from Butler and Jackson Jr. We wait with bated breath for The Further Adventures Of Big Nick.

Being a Mamet, we expect superb dialogue and twists, but we also get refreshingly compact action scenes, even if the climactic airport skirmish is on the pat side. A lesser Mamet, then, but still compelling.

However, writer-director Mark Herman never really achieves the correct balance between the serious and the feelgood, allowing an uneasy tone to prevail, while the small screen style and supporting cast of familiar TV faces suggests this would play more comfortably on the box.

Nothing is taken seriously, and there’s a nice mix of old groaner jokes delivered with a visible wince and genuine, sneakily erudite wit.

And then, of course, there was the music, better music than any film had had for many years.

Wise (and Crichton) concoct the most absorbing, riveting take on science fiction tempered with science fact.

Great performances and an innovative approach to a tired old story make this one to watch out for.

What a peculiar but effective children’s adventure movie this is.

Despite the nobility of its intentions and commitment of its cast, this would-be treatise on gig economical iniquity winds up patronising the very ‘invisible people' it's supposed to be championing.

Smart special effects, atmospheric visuals and an impressive physical performance from Williams enhance this timely ghost story but the horror doesn’t hit as hard as the rages against misogyny.

Reinforcing the very rom-com tropes it's sending up, this is a little too postmodern for its own good. Happily, Poehler and Rudd are as irresistible as ever.

Isn’t It Romantic had us at hello but loses its spell when it has to develop its plot. Not as smart or sharp as you’d hope, it still delivers a lot of fun for those who can’t resist a bad Katherine Heigl flick.

Don't expect the puppet to wisecrack - there's more pain here than in "The Passion Of The Christ." It never quite comes together in a satisfying way, but it's still a brave, strange, brain-stirring piece of filmmaking.

This solemn, blood-soaked thriller lacks the dynamism of its star, but is an impressive showcase for him nonetheless: it’s as hard to look away from Shannon’s performance as it is to look directly at it.

The title might sound like something from Marvel Phase Six, but The Aeronauts is an exhilarating period flight of fancy, occasionally weighed down by backstory, but buoyed by Redmayne and especially Jones.

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.