This is textbook Wes Anderson without falling back on old tricks. The rich world of The Phoenician Scheme can be a lot to take in, but what a view it is.

Strictly-for-fans-only. Bono is a charismatic chronicler of his own life, but the self-conscious storytelling concept is a harder thing to stomach for non-enthusiasts.

This Hallow Road is paved with brilliant performances, a smart, unpredictable script, and tight, precise direction from Anvari. An unsettling ride worth taking. 

A tense, knotty opening act yields to some of Tom Cruise’s most impressive stunts yet, ending the film — and perhaps the series — on a high.

Laugh as you barf. This fun reboot is crammed with affectionate nods and grisly kills as it bids a fond farewell to Tony Todd. Might it have been called ‘Ultimate Destination’?

Despite some sweet moments and strong on-screen talent, The Wedding Banquet’s off pacing and limited character development mean it ultimately falls flat.

Jazzily scored and cut, The Uninvited hangs in the Hollywood hills and vibes like a ’90s indie. It’s no Swingers but it’s well-acted and makes entertainment of its earnest themes.

With a committed, crazed, brilliantly calibrated performance from late-Renaissance Cage, this is a feverishly good thriller: surreal and strange and sticky.

Cleaner has good people behind it but this British attempt at a Die Hard ends up just being a bit of a mess. Yippee-ki-nay.

Even the slightest wisp of critical thought will bring the house-of-cards plot tumbling down, but avoid thinking too much and it’s a frothy, sun-drenched bit of fun.

Until Dawn wants to carve its own path, separate from its source material. Ironically, in trying to be different, it ends up feeling more clichéd than ever.

Kiyoshi Kurosawa’s latest film is a chilly and mystifying expression of a modern malevolence which hangs over our lives — like a cloud, if you will — worsened by constant digital connection.

It won’t win points for originality or sophistication, but this is another muscular, well-pitched heist thriller with strong character work from Butler and Jackson Jr. We wait with bated breath for The Further Adventures Of Big Nick.

It doesn’t always land, but it dares to be different, from the title to the team-up. Fresh and thoughtful in a way recent Marvel efforts haven’t always managed.

Naomi Watts’ exceptional performance is the crucial element of this moving if flawed tale. The film to see if you’ve ever wondered how to tackle grief with a ginormous dog in the Big Apple.

Unsurprisingly, HAVOC is at its best when we’re plunged into wall-to-wall carnage. It may not be for the faint-hearted, but this fist-flinging fever-dream sees Evans back near the top of his game.

Affleck and Bernthal make a funny, if morally dubious, double act, as Christian’s autism lets sociopathic hit man Brax think of himself as the ‘normal’ brother. Best bit: the line-dancing scene.

If you do pick up a penguin, you could do worse than experience Michell’s kind of spiritual and moral awakening. Still, the film is thankfully sharper and less cute than it initially appears.

An idiosyncratic, thematically dense twist on the vampire myth that’s oddly paced but beautifully played. One to sink your teeth into.

A moving story that manages to steer clear of the usual hammed-up adolescent angst. The result is a quietly powerful refresh of the coming-of-age genre.

Freaky Tales never amounts to more than the sum of its parts — but those parts, while uneven, are always high-energy and entertaining.

Not exactly a world leader in the action movie stakes – but entertaining enough, particularly thanks to Viola Davis. 

Aka ‘The Odyssey: The Bits Without The Monsters’. Not that that should put you off, as Binoche and Fiennes bring some raw, fleshy humanity to this mythic text, giving it a modern twist that balances the film’s flaws.

Bolstered by a grounded performance from Meghann Fahy, Drop deftly weaponises its titular tech to update the paranoid thriller for the iPhone age. Better check those security settings.

Operating with more of a steady pulse than a full-on thrill-ride, this revenge flick exchanges fists for brains with only decent results.

A hyperactive hot-pink mess of a movie, which fails to elevate its cubic source material and revels in that failure like it’s achieving something.

This is sadly unsuccessful as both an eat-the-rich satire and a schlocky B-movie. Not even Paul Rudd and Jenna Ortega can rescue Death Of A Unicorn from expiring on arrival.

For all its originality, O’Dessa can’t help but get tangled up in its own mythology, dragged down by a romance that never sizzles.