Eastwood’s back with a look at manliness filtered through the wisdom of aging. It makes the odd stultifying stop and falls into several cliché potholes, yet Cry Macho ultimately finds its way.

Very hit and miss and not a patch on the first spoof but when a joke strikes home it'll have you going for a while.

An entertaining, provocative biopic with good performances and many strong scenes — but it still doesn’t feel like the full Lovelace story.

Ustinov may not be the Poirot that we all think of now, after the David Suchet series, but this is pure Agatha Christie, steeped in nostalgia and atmosphere.

Though not always as profound as it aims for, Swan Song is a tender, warm-hearted reflection of a life well lived. If it’s possible for a prolific septuagenarian to be a revelation, Udo Kier is exactly that.

It’s quite an entertaining little effort, combining the craziest aspects of classic Hollywood screwball comedy with the kind of fresh insanity found in the great cartoons.

If the film never completely coheres into a satisfying whole, Days Of The Bagnold Summer has a lot going for it: a nicely judged sense of character, an eye for detail and strong performances, especially from Dolan. It also suggests Simon Bird is a filmmaker worth watching.

Some rather rough animation brings down the otherwise exhilarating Blue Giant, which, in its best moments, transforms jazz music into an otherworldly sensory adventure.

Emancipation can’t avoid the well-trodden hallmarks of slavery stories, nor offer a particularly fresh perspective on them. It’s best when it leans into other modes — and when it centres on Will Smith’s outstanding, understated performance.

There's undoubtedly comedy mileage in an irreverent sending up of the Signs/Magnolia school of everything-is-connected philosophy. Despite the calibre of the cast, the Duplass brothers mostly fail to find it.

Although its intentional twist on age gaps, sex and gendered dynamics is provocative, Nocturnal can’t quite hold the interest for its whole running time — in spite of a brilliant performance from Cosmo Jarvis.

It feels a little like ‘a very special episode of The Walking Dead’ and might be a tad low-key for its field, but Schwarzenegger and Breslin are good and the payoff is affecting.

Although in danger of being unable to decide what kind of film it wants to be, a well-written script and well-judged performances make this a family outing worth taking.

An enjoyable if routine period crime picture with good performances from Jason Sudeikis and Lee Pace, but it lacks a personality and style of its own.

A risky project for Foulkes to make as her first feature, Judy & Punch ventures a little too far into troubled waters with its comedic handling of heavy matter, but shows promise in the woman holding the strings.

Warm but unassuming family comedy.

It’s very conventional in form and dances round his famous temper, but Never Give In touches on topics (class, identity) rare in a sports documentary, etching a moving portrait of a man reflecting on his past at a point when his memory is slipping away from him.

Despite its shortcomings -- it’s still one of the better teen movies to come along in a while.

Fighter delivers exactly what you’d expect from an Indian military blockbuster – excitement, passion and a level of patriotism that’s equivalent to being repeatedly punched in the face with the Indian tricolour.

While not exactly reaching Ring-levels of terror, it's certainly one for connoisseurs of the weird.

All Of You might only work for some of you, but the easy, insatiable fire between Goldstein and Poots is undeniable. 

Curious allegorical epic which was supposed to speak to Allied spirits during the second world war but was a trifle obscure in its symbolism even then.

Celebrating the triumphs of a brave female athlete, and boasting a strong central performance from a transformed Sydney Sweeney, Christy is a well-meaning but meandering feminist parable.

It’s not trying to reinvent the romcom wheel, and its final bow could be predicted by anyone with half a brain — but I Want You Back is sweeter and more sensitive than you might expect from this kind of broad mainstream romp.

No masterpiece, but a decent rental prospect. Twohy works the Sci-fi genre well yet again.

Paying attention to religious impulses which are all but incomprehensible in the 20th Century, Bresson conjures up a God-bothered middle ages that is harrowing but not, it must be said, terribly exciting.

Unnervingly, it is both hilariously funny and quite disturbing, with Allen's neuroses and fixations manifested in some shocking ugliness and intimately personal revelations we'd rather not have seen confirmed.

Kid-friendly with some neat visuals. Adults will appreciate the dulcet tones of Frasier as the Tin Man.