The Kids Are All Right writer Stuart Blumberg's first directorial effort is a frothy affair with typically strong turns from Ruffalo and Paltrow.

Shot in magisterial black-and-white, veteran director Trueba's drama is a welcome return from the Belle Epoque man.

Sweet, witty and exquisitely observed, In A World... sees the emergence of an exciting talent: any agents looking for a new triple threat should ring that Bell.

Lincoln meets Sudden Death: a corny but raucous throwback to when Planet Hollywood was hip. Gary Busey popping out of a rose bush wouldn’t feel out of place.

A sometimes over-simplified but often affecting look at forbidden love.

Charming, if disjointed, it’ll give you one hell of an appetite.

A deeply affecting glimpse of a man's quest to salvage beauty from tragedy.

Slightly jerry-built reconstructions detract from an intriguing film with a unique angle on the country legend.

It rarely deviates from formula, but Rush wins big, delivering the most exciting F1 footage created for film. Like Hunt, it is sexy, funny, full of thrills. Like Lauda, it is intelligent, a bit blunt, but ultimately touching.

Overlong and often overcooked, this is nevertheless a relative return to form for Diesel as the fiendish Furyan.

More than just a time-travel rom-com, this is a movie that asks you questions and doesn’t sugar-coat as many of the answers as you’d expect. Smart and sweet, funny and genuinely moving. Should probably come with a ‘there’s something in my eye’ warning.

Offers plenty of easy nostalgia and Duris charm.

Angry, impassionate filmmaking that demands - and deserves - serious answers.

This does a serviceable job homaging '80s actioners but not a whole lot more. Go for the explosions, zone out for the plot.

A bang-on soundtrack will make the hairs on ex-ravers' necks stand up. The plot will have the opposite effect.

A film for every age, whether you’re an awkward kid, former awkward kid or awkward kid-adjacent. Funny, real and uplifting. A film that reaffirms your belief in the human spirit.

How to sum up? You have to make synapse-spark connections, interpret events to your own satisfaction, pick up visual cues (a long stretch of the film is dialogue-free) and be happy with not knowing all the answers (you know, like in life — but not in most motion pictures). A perfectly judged, strikingly beautiful film, but also a lunatic enterprise which invites — even welcomes — befuddlement as much as wonder. A true original.

Michael Bay goes back to a Bad Boys budget and a big boys’ rating, for a true-life crime story that’s inconsistent and frenetic, but also funny and wilfully outrageous.

1D in 3D: the closest thing to a Shine A Light for Directioners.

While it doesn’t defy genre conventions like "Cabin In The Woods," Wingard’s tale of a dysfunctional family under siege is an outrageously entertaining crowd-pleaser — if you have the stomach for it.

It's good to see Harlin back in the mountains, and while this isn't on par with Cliffhanger's thrills and spills, it's a smartly-executed little whatdunnit.

Apparently unable to decide whether to take its own mythology seriously or not, this is a mess of sculpted cheekbones and incoherent romance.

As simple and charming as you could wish for, this is a genuinely pioneering debut from a female Saudi filmmaker and a striking piece of work by any standards.

A likeable comedy that uses its greatest asset, its talented, funny cast, to good effect.

The young Aprile is a standout in a moving, hard-hitting and surprising adaptation of the Henry James novel.

An entertaining, provocative biopic with good performances and many strong scenes — but it still doesn’t feel like the full Lovelace story.

Part two of Ulrich Seidl’s Paradise trilogy is a stark, morally complex study of blind belief, lightened by black laughs and Seidl’s static, deadpan compositions.

A Pixney misfire.