It demands patience and an open mind, but Lowery’s return to his indie roots after Pete’s Dragon is a highly unusual and, at times, emotionally shattering fable.

The only fireworks here are of the indoor kind, but this sensitive, beautifully acted film lingers long after the final frame. And the Newfoundland locations are breathtaking.

A fascinating topic is attenuated by conservative storytelling and sketchy characterisation. Nevertheless, the sense of place is as assured as the vigilant performances, while the defusing sequences are genuinely suspenseful.

It's loud, at times unwatchably gross and sometimes lingers on the verge of hysteria. But it's also a warm-hearted and optimistic celebration of black womanhood. Maybe friendship can save us all.

Elba is genuinely great as the tormented Roland, but the film does its best to suffocate him under a mountain of plot-heavy nonsense. Disappointing.

It’s cool and brutal, but with such impressive action credentials you almost wish there were fewer plot devices to distract you as Charlize gets up and at ’em.

A little reticent in gore gimmicks for the Final Destination crowd, but considered as a middle school between Goosebumps and Clive Barker, it’s just the haunted lottery ticket.

Silly and aimed squarely at the younger crowd, Captain Underpants has enough spirit to be entertaining. Just don’t expect it to work all the time.

A fiendishly effective holiday-gone-wrong thriller that's better at cranking up the agoraphobic action than fleshing out its characters. Still, it'll find few fans at the Mexican Tourist Board...

While it's tempting to sum up in thumbs down emoji, when they go low, we go high. So let's just say, abandon all hope, ye who enter here.

A gruelling, nightmarish, ferociously vivid riot epic that recreates one of the darkest chapters in American history. Unflinching, unmissable and terrifyingly pertinent.

Edgy and hilarious, Nanjiani and Gordon’s true story of cross-cultural love is a Trump-baiting marvel that’s worth the hype.

Deliberately uncomfortable viewing, this is nevertheless a compelling exercise in gritty psycho-noir with outstanding performances and real dramatic weight. Director Ben Young is a name to watch.

A wildly ambitious space opera, but also a self-indulgent narrative morass. Sometimes, it seems, creativity can benefit from a few limitations.

Even if it needed one last push to make it truly exceptional, there’s a lot to enjoy here. And Soderbergh once again attracts a cast it’s a pleasure to spend time with.

A spare, propulsive, ever-intensifying combat thriller, Nolan's history lesson is both a rousing celebration of solidarity and the tensest beach-set film since Jaws.

By driving back to the core homespun wisdom of Cars, the third film is a course correct from the second. But this is still not vintage Pixar.

Crucial for serious fans of Lynch, even if it may baffle newcomers. Since pretty much the only thing more interesting to lovers of his work is the enigmatic man behind it, there’s a lot for them to get their teeth into here.

Serra’s sad, stately, haunting addition to the slow-cinema genre doubles up as both an intimate study of the Sun King’s death and a requiem for Europe’s fading arthouse scene.

Verdict City Of Ghosts wears three hats with aplomb — a summation of the tragedy that’s befallen Syria, how horror can be resisted with just laptops, phones and courage, and the importance of shining a light into the darker corners of the world.

Never reaching the heights of Malick’s ’70s heyday (what does?), Song To Song represents some kind of return to form following Knight Of Cups. It won’t convert the unconvinced, but it is beautiful, melancholic, audacious and well-played, a refinement rather than reinvention of a singular filmmaker.

Part wildlife documentary, part urban love letter. Kedi may only be a slender 79 minutes long, but it’s a lyrical and surprising philosophical tribute to the therapeutic power of pets.

Telling an unfamiliar tale in a highly predictable manner, this is a laudable, but lightweight tribute to golf's founding fathers.

Full of character-based suspense, it’s dramatic and ramped-up with tension. Existing between a Sundance and a FrightFest film, this is a challenging, horribly plausible future vision.

Coppola’s most traditional film to date is a heightened, darkly comic, sexually tense drama that flips the male gaze, to show what happens when a man, for once, gets caught in the crosshairs of desire.

Old School with added poker chips? Perhaps. But this Ferrell and Poehler-powered comedy blockbuster has big laughs, an enjoyably grisly streak, and a film-stealing turn from Jason Mantzoukas.

Sir Richard Attenborough's long-in-the-making account of the life of Sir Charles Chaplin is a film you desperately want to like, but it emerges as a big, shiny, old-fashioned biopic that ultimately fails either to illuminate the genius of its subject or to excite as a story.

Apart from the odd titter, this is a sound formula suspense movie with spiffy set piece thrills, directed with assurance by Dead Calm's Philip Noyce and attractively played by the plausibly anxious principals.