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.

A Rainy Day In New York hits all of Allen’s touchstones, has a few good one-liners and is well played, but it sorely lacks the wit, vitality and veracity of his ’70s/’80s heyday.

Boasting a powerhouse cast, The Last Full Measure has the best of intentions, to celebrate servicemen without condoning war, but winds up with little else.

The Vast Of Night is a modest film about small-town dreamers that delivers big-time rewards and announces a singular, exciting talent in director Andrew Patterson.

Tracee Ellis Ross kills it as a believable soul diva in a harmonious pairing with Dakota Johnson — a shame, then, that a distracting romcom plot ends up so high in the mix.

The plot is insubstantial in the extreme, but Rae and Nanjiani are so cool, and their loose, free-flowing improv so winning, that you probably won’t care.

The Wrong Missy is a little hit-and-miss, but it’s funny and inventive, and Lapkus is good enough to make the word “zany” tolerable again.

It’s not an easy watch, but Never Rarely Sometimes Always is a necessary, unflinching portrait of young women trying to do right by themselves in a world seemingly against them at every turn.

The musical interludes in which Rapman narrates significant plot points offer a welcome change of pace, but the subject matter at play here is a little too common to truly stand out from the pack.

A stirring, sober examination of an ongoing injustice, The Assistant speaks to women whose discomfort is ignored, and bravely says that they matter, their feelings have been noticed. Now is the time for us to act on them.

A rip-roaring, bloody slice of Russian genre cinema that combines a tightly plotted narrative with a stylish command of craft to hugely entertaining, immersive effect.

Following Jackie, Pablo Larraín offers another powerful examination of grief, capturing all of the confusing and fascinating layers of human relationships. Despite the heavy subject matter, it’s intoxicating.

Powered by the charisma and physicality of its star, this often gruelling action flick does more than enough to suggest that Hemsworth has found his genre, once he hangs up a certain hammer.

A filmed stage show with barely any bells and whistles, this is an endearing trip through time, via a band who constantly changed the game. And the music is immense.

Selah And The Spades showcases Simone’s star power and suggests a promising future for Poe, but ultimately fails to keep up the pace needed to make it the slick, cutting teen drama that it clearly wants to be.

It’s Sliding Doors with place settings, but Love Wedding Repeat can’t make its time-loop conceit work (stick with About Time). Bouquets to the cast and production values; a quickie divorce from everything else.

The kids and Caine are good, but this lacks the magic of its source novel(s). Younger children may enjoy it, but its attempts to entertain older viewers mostly fall flat.

It could have been a tantalising coming-together of two icons of action cinema. Instead, The Iron Mask feels oddly anemic.

If you thought the first Trolls movie was fine, you’ll probably find this fine too. It completely lives up to the watchable mediocrity of its predecessor.

It’s not hard to tell that this Big Lebowski spin-off involved neither Coen Brother. Fair play to Turturro for going in such a strange direction, and assembling a pretty killer cast, but it’s unlikely to satisfy even the most ardent Quintana enthusiast.

One’s a cop who can’t shoot straight! One’s a kid with a nose for trouble! Together… they lack the wit, thrills and rapport to deliver fun genre times.

The Occupant is a slow burn of a thriller that never catches fire. Looking to skewer the pursuit of perfection during late capitalism, it misses both its satiric targets and a sense of kitsch fun.

A fun diversion for the kids, but you feel Attenborough could have packaged these often beautifully produced images with more rigour and insight in under an hour.

The Conjuring by way of The Cornetto Trilogy, there’s little ordinary about Extra Ordinary – an unfalteringly funny, ectoplasm-drenched horror-comedy that deserves the cult status it’s destined for.

Released at any time, The Platform, packed with ideas and moments to be endlessly debated, would have all the makings of a cult classic. Released in 2020, it is an astonishingly apt metaphor for our times.

This Tramp doesn’t really stamp a fresh personality on a story already told well. But it also doesn’t embarrass itself compared to the original and it’s got a shaggy charm of its own.

Togo is in a slightly more sombre register than Call Of The Wild but delivers similar sturdy pleasures; exciting dog-in-peril action and striking landscapes, all anchored by Dafoe’s grounded performance.

A frothy fantasy about a boy and his bear that makes up for in style what it lacks in substance.