Noah Baumbach’s great run continues. Sharp, fast and witty, it’s old school screwball comedy with a cool modern twist. And Greta Gerwig is a bona fide genius.

At times it feels as if five different films are going on at once, but Schumer’s whip-smart delivery and no-holds perkiness keeps it all in place. Just as her director wilfully mines his own life for laughs, there is a whole lot of Amy in Amy.

Carol Morley’s film has a lot going for it, not least a thick, vaporous atmosphere, alive with unease and sexual anxiety, and an eye-catching debut from the casually charismatic Florence Pugh.

As an origin story that’s all origins and no story, there’s a hollow, stale feeling to this occasionally admirable attempt to Nolanise Marvel’s dysfunctional family.

The truly effective emotional arc is handed to the furry member of the cast.

A flawed yet fascinating Aussie indie.

Holly Hunter goes toe-to-toe nicely with the superbly understated Al Pacino loner obsessed with a long-lost love — one of his most rewarding outings in a very long time.

Minnie’s inner life, a fantasia of animations appearing Crumb-like around her, is dazzling, and there’s plenty of naked emotion amid the sex, drugs and hand-drawn penises.

Familiar formula yet Morgan Matthews’ feature debut adds up to a satisfying whole.

Late director Albert Maysles (Gimme Shelter) beautifully captures her personality and her passion for creativity.

It’s genial, with appealing stars and fair giggles.

Impressively nightmarish.

Easily, almost nonchalantly, best in franchise, Rogue Nation dispenses with the dead weight of realism or relevance for state-of-the-art thrill-making in a classical mould. The series has finally found its voice.

It feels a little like ‘a very special episode of The Walking Dead’ and might be a tad low-key for its field, but Schwarzenegger and Breslin are good and the payoff is affecting.

Outstanding account of a pivotal moment in small-screen history.

Don’t get too caught up in the all-too-familiar plot, just savour Jake Gyllenhaal’s powerhouse performance in a riches-to-rags-to-redemption sports movie that punches well above its weight.

Partly the story of a music scene, but mostly the story of a man who realises that living the dream isn’t always the best thing for your life. Vivid, immersive and blessed with a perfectly nostalgic soundtrack.

The science is haphazard, the techniques gimmicky, but the point is cogently made.

The former comedy co-stars (Knocked Up) are superbly cast in this fascinating, fact-based story.

Superb star turn from Maria Alexandra Lungi but this doesn’t grip as it might.

Some of his Salgado's depictions of human suffering are not for the faint-hearted but, like this fine film, demand to be seen. Unmissable.

As bleak, unflinching and utterly unmissable as its predecessor.

Inside Out is audacious as it is silly, as funny as it is imaginative.

A science-fiction, action-heist, superhero comedy soap opera, this straddles as many genres as the Avengers films have characters but manages to do most of them pretty well. Extremely likable, with a few moments of proper wonder.

Despite a second act lull, Connolly convinces in this cute and charming comedy.

Lea van Acken is outstanding but Dietrich Brüggemann’s severe gaze invites voyeurism, not empathy. A stony, stifling if fascinating film.

Less fun than last time and oddly unpleasant in its tone. MacFarlane takes potshots at everyone he can find, while shielding the two characters that deserve it most.

Like it or not, Six has contributed something fresh and demented to pop culture.