Played with restraint and individuality by a fine ensemble, this is a moving but provocative study of belief, duty, compassion and acceptance.

It’s hard to begrudge such an earnest endeavour, but this is missing the wit, nuance, and insight of a book thought by many – correctly, maybe – to be unadaptable.

Part body-swap comedy, part long-distance romance, part... something else. If you only see one Japanese animated feature this year, see this one, and see it more than once.

Hackneyed and somewhat dated Tarantino-isms abound. But for the committed fan of such things, there is more than enough to enjoy here: not least an entertainingly unhinged performance from Willem Defoe.

Big, bold and teeming with imagination, it is so busy world-building that it occasionally forgets to have fun. But with this heavy lifting done, there’s every reason to hope for an even more magical adventure next time.

Well-crafted and compelling, if a little inaccessible to western audiences...

It remains entertaining throughout — a testament to the inventiveness of the on-screen action. And Pixar’s influence.

Vikander and Fassbender are riveting in a handsome period drama that begins beautifully, but becomes increasingly contrived as it tries to wring as much drama as possible from its set-up.

A Street Cat Named Bob has its heart in the right place but doesn’t quite land on a tone to unite hard hitting drama and a cat-based comedy.

Ford’s artfully composed and emotionally clever noir is well-paced and, in stark contrast to the naked flesh that opens the film, never, ever sags.

Despite an intriguing premise, an impossible-to-buy plot contrivance and a deeply unsatisfying ending put paid to this sci-fi psycho-thriller.

The Stooges’ story is a natural fit for the silver screen. Unfortunately, superfan Jim Jarmusch’s love letter to them does not quite do it justice.

A crowd-pleasing oceanic musical with big tunes and beguiling characters, Moana is likely to thwack a big smile on your face. And did we mention the idiotic chicken?

Arrival is a beautifully polished puzzle box of a story whose emotional and cerebral heft should enable it to withstand nit-picky scrutiny. And like all the best sci-fi, it has something pertinent to say about today’s world; particularly about the importance of communication, and how we need to transcend cultural divides and misconceptions if we’re to survive as a species.

The story of Britpop’s iconic band at its peak is told with wit, honesty and swagger. Which, given its two leads, is entirely fitting.

A bizarre and beautiful detour on the Marvel journey, which culminates in a mind-bending, expectation-inverting final act. Not to be watched under the influence.

If you’ve asked yourself why on earth there needs to be a movie about Troll dolls, this doesn’t really provide a strong answer, yet for all its awkwardness and fluff-brained logic, its enthusiasm is infectious.

Overall, a superior sequel. Some people will never get over the height discrepancy but character-wise, Never Goes Back brings Reacher closer to the books for the type of thriller that rarely gets made these days.

Covering alcoholism, manslaughter, infidelity and petty crime, there’s a rich spread of melodrama on offer, but none of the tales have meat enough to satisfy alone. Together, though, they form a varied backdrop to showcase some respectable character work.

It’s a little too long, but holds the attention thanks to Lane’s charisma, Ryan’s breathtaking cinematography and the dizzying power of young love.

Perhaps it’s fitting that this story about babies has the attention span and grasp of logic of a newborn.

Neither tribute nor analysis, this doc offers an inappropriately off-beam treatment for such a serious subject.

Wheatley continues an unbroken run of quality, helped by a great cast and a startlingly effective premise. This is seriously cool, stuffed with great dialogue and riddled with bullets.

An unfortunate misfire that has the odd moment of charm and the odder chuckle, but otherwise isn’t worth keeping up with.

Loach scans the contemporary landscape, and instead of a firebrand approach of stereotype, delivers a film of immense sadness. Someone should project this on the walls of the Department for Work and Pensions.

Its plot isn’t going to win any prizes for originality, but Nair tells the story with immense warmth and cheer. You can see just about every move coming, but it’s making all the right ones.

Character motivations are glossed over, explanatory scenes are jammed in haphazardly, and the finale relies on a tonally bizarre combination of schmaltz, coincidence and violence that seems to betray the arc of the whole movie.

This is Mel Gibson back to doing what he once did best, just older and grumpier. The movie has problems but delivers when it needs to.