The kind of heist movie that will steal your affections from under your nose. An Ealing-esque comedy with its heart exactly in the right place, it proves a fitting farewell for the multitalented director, Roger Michell.

Joe Wright brings fun and imagination to an oft-told tale, even if the story beats offer few surprises. Still worth seeing for a compelling Peter Dinklage turn.

Its title might be near-identical, but this legacy sequel is everything the original wasn’t — pleasantly gory, but light on atmosphere and really, really stupid.

In its search for the personality behind the creator of one of cinema’s most famous comic characters, The Real Charlie Chaplin too often lapses into dreary convention, despite flashes of brilliance in its use of archive footage.

More predictable than shaggy, Dog is more interesting than the standard man-mutt buddy movie but still never really pulls the heartstrings. What it lacks in urgency and emotion, Tatum more than makes up for in movie-star wattage.

By turns impressive and oppressive, Petrov’s Flu combines technical razzle-dazzle with obtuse storytelling. Bravura and baffling in equal measure.

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.

A film based on a game inspired by films that are much better than this one, Uncharted is watchable enough but could have been so much better.

It’s a fun premise, one that this treats seriously, but it never quite reaches the highest levels of the genre.

An extraordinary blend of personal reflection and inspired craft, Flee is a harrowing child’s-eye adventure that lends lyricism to the plight of migrants while showing there’s always a new way to make a documentary.

If not Hamaguchi’s best, this is a gracefully performed and expertly detailed collection of stories, revealing the delicate and unassuming magic to be found in simple conversation.

An improvement on Murder On The Orient Express, with the increased focus on Branagh’s Poirot (even with its strange moustache obsession) welcome enough to distract from the problems with some of its ensemble and its too-obvious reliance on VFX.

Belle is an exhilarating transformation of a classic tale, updating a story of alienation into something deeply resonant with our digital way of life. Though it misses a couple of notes in its final act, it’s an exhilarating sensory experience, with great emotional depths.

Joanna Hogg delivers an object lesson in how to deliver a follow-up: deeper, funnier, more imaginative than its predecessor, The Souvenir Part II is a filmmaker working at the peak of her powers.

Moonfall is precisely what you’d expect a film called Moonfall to be: deeply, defiantly, sometimes exasperatingly daft. It’s Roland Emmerich on apocalypse-autopilot.

Jackass Forever is a hilarious, even genuinely touching reunion of America’s most vulgar performance artists. It doesn’t reinvent the wheel for the series or definitively say goodbye to it, nor does it need to — it’s simply enough to remember that some things never get old.

It's an impressive performance from Chastain and a fascinating subject, but the film doesn’t delve deep enough into Bakker’s inner life.

Far from the best of Penn’s directing work but also not the worst (The Last Face is unlikely to lose that dubious crown). Dylan emerges the most triumphant Penn from a largely boring drama.

A loose, hurried ending can’t quite live up to the effective sense of dread created in the first two acts, but Amulet is still a fascinating, nightmarish debut from Garai.

The marriage of abstract existential themes, immersive, tactile images and dual timelines is always impressive but only occasionally moving.

There’s no questioning the high-octane energy of Garth Jennings’ star-studded ensemble, but the cacophony grows a little tiresome. The show can go on, but that doesn’t mean it must.

Almodóvar juggles comedy and drama to terrifically entertaining ends, aided by a tip-top Penélope Cruz. It’s hard to think of a more exciting actor-director partnership working today.

It may be a tough watch, but, boasting a quartet of excellent performances, Fran Kranz’s directorial debut is a technically adept, emotionally exhausting yet deeply cathartic film that couldn’t be more timely.

Belfast is exactly the kind of film that wins an audience award at a festival — highly entertaining and beautifully done without ever being innovative or challenging, finding the universal in the specific, the upbeat in dire circumstances. Slight but winning.

A Journal For Jordan is probably better suited to the page than the screen. Despite winning chemistry from Michael 
B. Jordan and Chanté Adams, Denzel Washington’s film etches a romance that rarely delivers substance or surprises.

A rare del Toro film that’s not an outright spook show, Nightmare Alley isn’t quite the filmmaker’s best — but it’s not far off, boasting an enveloping atmosphere, compelling characters, and gorgeous filmmaking.

An immersive and impassioned documentary from one of Britain’s most formidable filmmakers, which may be singular in its perspective but is as powerful to watch as it is painful.

Designed and deserving to be seen big and loud, Memoria is a hypnotic, unquantifiable, occasionally inpenetrable sonic odyssey from a unique cinematic voice.