As with a number of arthouse films, the ending leaves something to be desired. But, courtesy of its meticulously mundane digital imagery, this is a film of precise details that sketches an outline of existence and then leaves it to the audience to draw their own conclusions.

As a fairy-tale romantic rendering of Ireland, Irish Wish is almost offensively bad; as another rung on the ladder for Lindsay Lohan romcom supremacy, it is almost, somehow, beyond reproach.

A gentle, odd little Australian fable. Warwick Thornton’s film has a lot of thoughts to process, and while they don’t always cohere, the performances from Blanchett and Reid keep it interesting.

Monster is Hirokazu Kore-eda channelling Christopher Nolan: twisty storytelling in the service of wise empathy. There is no judgement in Kore-eda’s worldview, just human behaviour in all its glorious complexity.

Not a total catastrophe, but perilously close to being one. Is it too obvious to say Imaginary is simply lacking in imagination?

Expertly handled by director Doug Liman, wittily scripted, and boasting a wonderfully original take on the action hero archetype, this new Road House is a total riot.

Despite John Cena’s best efforts, Ricky Stanicky is a comedy that delivers nothing but tedium, wasting a clever idea by repeating the same jokes over and over.

Too childish and shallow for adults, yet too brutal and gory for kids, this is one Damsel that really does need saving, after all.

A step back from the last film in terms of ambition, this nevertheless continues the series’ chirpy, amiable mood. Nothing to be po-faced about here.

DuVernay’s sweeping odyssey is an ambitious (if sometimes messy) spectacle. At its best, it holds a poignant power that provides plenty of food for thought — enough to linger long after the credits roll.

Atmospheric and chilling, Out Of Darkness doesn’t reinvent the wheel, but adds some thoughtful twists to a well-worn genre. It’s an intriguing sign of things to come from a new filmmaking voice.

Come for the wise alien spider, stay for Adam Sandler at his sombre best in this strange, heartfelt sci-fi drama. Here’s hoping he continues to push himself to new highs.

As furiously funny as it is helplessly horny, this lesbian road movie simultaneously feels exactly like a Coen brothers film — and entirely its own thing, too.

Another epic helping of sci-fi wildness from Denis Villeneuve that’ll take true believers to paradise — even if it’s a bit too much Spice to digest in one sitting.

Repetitive insults do most of the heavy lifting for this comedy, but any time spent with actors as skilled as Colman and Buckley is time enjoyably spent.

In a film that could have bowed to easy clichés, Chastain and Sarsgaard are a class act — their touching, tactile chemistry is the film’s triumph.

Zen and the art of toilet cleaning? You’d better believe it. This is as gentle as it gets — a humble little film, maybe, but an enriching one. It’s a soul-cleanse.

Dramatically, this may seem slight. But bounteous pleasures lie in the intimacy of the acting and in the exquisite cinematic and culinary craftmanship on display.

Madame Web isn’t much worse than the rest of the SPUMC, give or take, but it’s not really better, either. Its minimal saving grace is that it doesn’t require much familiarity with the wider universe.

This is a garish, frequently insane, diamond-encrusted fantasy trip into the mind of a superstar, and we should be grateful to have even limited access.

A watchable, if by-the-book, documentary. It’s only a pity that the conventional storytelling hems in such a deeply unconventional director.

While it can be a lot to take in, Occupied City is a poignant sociological portrait. Through the history of one space, it studies how fascism pushes people out of spaces  — but is also hopeful on resilience, solidarity and resistance.

A simple but effective study of a vital activist voice, this documentary is a powerful force for change.

A by-the-numbers biography, this sheds little new light on an icon but features a soaring performance from Kingsley Ben-Adir.

These teens may be a bit messy (who isn’t?) but it’s a joy to have Diablo Cody back to telegraph a new kind of adolescent horror, with a smile full of teeth.

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.

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

Flashy, fun and light on its feet, Argylle papers over its cracks with twist upon twist — and charming performances from its central duo.