A handsome and well-acted rumination on memory, boyhood and ageing that sees Ritesh Batra deliver a solid rather than inspired interpretation of Julian Barnes’ prize winner.

The Handmaiden is at once a superlative thriller and a deeply erotic character study, but it’s the intelligence, mordant wit and depth of characterisation that are the real turn-ons.

There is a frustrating absence of personality which means, for all her physical presence, this Major’s just not very engaging. It’s more a problem with the film than Johansson herself. A case, if you will, of it being so preoccupied with the shell, it forgot to bring enough ghost.

An old school romantic thriller that lacks the subtleties and sophistication of recent spy storytelling, be it on the big screen (Bridge Of Spies) or small (The Night Manager).

Featuring strong work from LaBeouf, Man Down is a fascinating example of how a powerful performance and good intentions can be derailed by a misguided concept and flawed execution.

Although replete with creepy shocks, this lacks the narrative finesse to match the committed performances and slick visuals.

With the camera placement being as meticulous as the use of Handel on the soundtrack, this impeccably played saga deservedly earned Mungiu a share of the Best Director prize at Cannes.

Featuring excellent work from grandstanding Cox and just-lying-there Kelly, The Autopsy Of Jane Doe creates a successful feeling of mounting dread punctuated by crashing thunder and surgical viscera.

Yes, the premise is a bit threadbare but this is an intimate, lyrical documentary that offers a subtly effective snapshot of life as a young woman on the threshold of adulthood.

The Boss Baby is hopped up on energy but never harnesses it effectively. There are laughs and heart buried in this idea somewhere. Shame the film is too hyperactive to find them.

It’s just a waste. The premise is ripe for absurdity and the talented supporting cast have interesting quirks that might have livened things up if Shepard ever gave them the chance. Instead, aside from a few surprisingly gory moments, this makes the original show look good.

This is a film full of scenes that would be easy to overplay, but which Schwarzenegger tackles with understated perfection. Truly, this is quite unlike anything else he’s ever done, and brilliantly so.

Atmospheric and engrossing, this meticulous recreation of time and place acquires an unsettling contemporary relevance through its analysis of the mindset of a mass murderer with a death wish.

There is fun to be had.... But it essentially feels like an overlong, mega-budgeted episode of a Saturday-morning serial.

Part Alien, part Gravity, just not as good as either of them. But Life whips along at a decent pace and deploys enough engaging action sequences to make it work.

To call it the most important movie of the year so far makes it sound possibly rather worthy. That’s not true at all. Get Out is a comment on a highly complex situation that’s also a total blast.

A Hitchcockian Poltergeist meets Single White Female, it's exactly as confused as that sounds, but just as intriguing. Stewart shows she’s now one of the most interesting actresses of her generation.

Played with committed ferocity by the excellent Oh and Heche, this riotous state-of-the-nation satire may lack subtlety, but it has the courage of its socko convictions and certainly packs a punch.

Solid and stately, a ’70s-feeling jungle adventure film that’s more of a thought-provoker than an excitement-inducer. But there’s nothing wrong with that.

Those who predicted this wouldn’t hold a talking candle to the animated original will be pleasantly surprised. The tale may be as old as time, but it’s retold with freshness, brio and flair.

King Kong lives! But only just. This is an uneven adventure that’s saved by the spectacle of its towering title character and the various beasts with whom he shares his island home.

The plot pieces might slot into place with a resounding clang, but what it lacks in finesse, this brutal actioner more than makes up for in bullish bravura and technical slickness.

A high-altitude horror – think a Bram Stoker reworking of *The Shining* or Shutter Highland – of real craft. Ultimately, though, the plot turns out to be thinner than the air.

A languid, leisurely paced drama. Not much happens, but Reichardt’s light touch and the performances of the leads make it soar.

The third part of Berg’s unofficial Americans-in-crisis trilogy will play better for US audiences than overseas, but it’s still a pacy and often enthralling disaster movie.

When it comes to playing a properly magnetic anti-hero with a gruff ’70s-cinema exterior and a dark reservoir of inner depth, Jackman really is the best at what he does.

It’s glossy and at times goofily funny, mostly thanks to Johnson’s subtle comic skills, but the novelty of this messy relationship is really beginning to wear off.

An interesting premise fails to ignite amid an underwritten central romance and some clichéd plotting. An often eye-rolling ride.