The storytelling is a little loose, but as a workplace comedy with a side-line in romance, this earns its laughs thanks to the immensely game Henson and a stellar supporting cast.

Ben Is Back begins with nuance but is let down by its familiar Drugs Are Hell tropes. Still, the pairing of the ever-excellent Roberts and Hedges keep it a largely compelling watch.

Under The Silver Lake is gorgeous to look at and listen to, with moments of genuine panache, but its wilfully labyrinthine plot will have limited appeal.

Ray & Liz is undoubtedly a difficult watch, a searing portrait of a family that has come apart at the seams. But, creating an astute sense of atmosphere and detail that come together to make meaning, Richard Billingham marks himself out as a filmmaker to watch.

Small-scale and slow, The Kindergarten Teacher works best as a showcase for the brilliance of Maggie Gyllenhaal. Adding another complex character to her resume, it’s another reminder she is among the best actors working today.

Instructive, insightful and inspiring, Maiden is a rousingly riveting record of a remarkable accomplishment that says as much about British bloody-mindedness as it does about feminist fortitude and underdog pluck.

Triple Frontier is engaging in parts with well-mounted action. But the characters lack definition and you can’t help but think an old timer like Howard Hawks or Sam Fuller might have done it better in half the time.

As a Nick Fury buddy comedy, it’s fun. As a feminist fable it’s essential. This takes a while to really get going, but when Carol Danvers takes off she is unstoppable.

Telling an age-old story in a singularly original way, Border is a compelling, sometimes excruciating fairy tale for our times — with a bizarre sex scene to rival Team America’s.

Serenity is a genuine headscratcher, baffling on almost every level. Badly scripted, strangely acted and poorly pitched, there is so much to pick over it’s hard to know where to begin. Sometimes the best of bold intentions are just not enough.

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.

The bones of the story have been played a million times, but a talented and committed cast make this swoonsome rather than samey.

This is a sexually frank and arrestingly tender perspective of a young man in freefall. It occasionally leans too far into the horrors of street prostitution, but it’s mostly an open-minded view of its shiftless main character.

A soft-spoken yet chilling domestic horror film that tells its slightly overfamiliar tale effectively, with strong performances, quietly disturbing atmosphere, one or two friendly clichés, and good, old- fashioned scares.

Packed with plenty of heart and relatability — and a powerhouse performance from Jack Lowden — it never fully resolves the tension between the grit and glamour of the wrestling worlds the Knight family inhabit.

It’s not a hugely innovative biopic, covering just a short period of Bader Ginsburg’s extraordinary career, but this is still a vastly inspiring account of the fight for equality.

A typically taciturn turn from Neeson is surrounded by a colourful cast, gallows humour and complete disrespect for cinematic stereotypes. A little bloated, maybe, but deserves kudos for joining the road not Taken.

Jellyfish is a familiar but compassionately drawn portrait of hardscrabble lives, centred by a terrific performance by Liv Hill.

It goes nowhere fast and Kechiche’s camera consistently ogles his female cast but he remains a terrific director of actors, the intimacy and authenticity conveying a real lust for life to sweeten the hefty running time.

With two astonishing child performances, Capernaum is a real heart-breaker. It can make Ken Loach look happy-go-lucky but it’s a gripping, sympathetic cry for the dispossessed.

A motorsports movie you don’t need to be a petrolhead to enjoy. Rev up those whiteknuckle thrillride clichés, you're going to need them.

For all its formula, Instant Family is a winning confection, unafraid to go to unexpected dramatic places and elevated by Byrne’s gift as a comedy foil and Moner’s lively but subtle turn.

What could have been a simple retread or by-numbers continuation instead throws itself headfirst into time-twiddling absurdity. High art? No. A total blast? You bet.

A sometimes clunkily executed true-life story which at least has potency in its blend of subject matter and lead actor. Despite often being hard to watch, this is Rosamund Pike’s best work yet.

A quiet and meditative portrait of the artist as a retiree, this lacks incident or high stakes but has an elegiac feeling of regret and reckoning that fits its subject’s twilight years.

More proof that Cornish is a wizard at re-energising tired tropes.The characters are a delight, the action sequences thrum with invention, and when it’s funny, it’s very funny indeed.

Joel Edgerton once again proves himself a gifted filmmaker — but for all the craft, compelling performances and good intentions at work here, the drama itself falls somewhat short.

A sort of Romeo And Juliet with systemic racism replacing the family feud, this is romantic and infuriating, hopeful and despairing. A sensory, desperately emotional experience for lovers and fighters alike.