Vaughn brings a tenderness to the role of a man forced into animal violence for the sake of love and the miracle of birth, and the rangy anarchy of Zahler’s deeply kooky film gets under the skin at times. But in the end, you wish some big bad studio boss had been there to cut this director’s cut.

Ne Zha 2 is a distinct fantasy epic and a technical achievement that stands up to the best that Disney, DreamWorks, Aardman or Studio Ghibli can offer, even if it frequently gives in to the same proclivities for excess as its peers.

A rowdy salute to the thankless sacrifices made by modern mothers, Bad Moms has lots of spirit, some funny moments and wonderful chemistry from its three leads. And yet, this so-so comedy can’t shake a formulaic, uninspired construction that often settles for the easy joke or the pat pay-off.

There are plenty of solid laughs in Mascots — everything from jokes about furries to throwaway bits involving obscure cable channels — but what’s disappointing is that there’s not a great overr-iding idea that ties all the gags together.

The film’s lavish production values and a comic register more impish than truly acerbic makes this a surprisingly cosy piece of luxury heritage cinema.

Ewan McGregor’s directorial debut eventually finds its own emotional core, zeroing in on the tragedy that befalls a seemingly perfect life once a man’s wilful daughter torpedoes it.

Sacha Baron Cohen didn’t become a household name by pulling his punches. While his latest subversion Grimsby is ostensibly a routinely lowbrow British comedy, it’s also a something of stealth device to test the waters as to how far down he can bottom-feed.

Neither the milieu nor the insights are especially fresh, despite the tender tone.

Savill keeps the tone upbeat, homing in on her character study. From goofy grins to anxiety-ridden wide eyes, Scotney’s range and talent is clear: her comic timing and commitment to Millie’s mania are exemplary. But in centring her above all else, there are a few too many narrative stones left unturned.

Unfortunately, the film tends to underline its points, turning a clever idea into a fairly obvious one, and Love Me’s self-consciously innocent/sweet tone can become grating. But what holds the film together is the intelligence and commitment the two stars bring to this occasionally mawkish tale.

Final Account is shocking footage which hasn’t quite made the leap into being a forensic film.

The descent into melodrama in the final act increases the tension but, in relying on some unexpected actions by several characters, also damages the film’s credibility.

This clever, heavily meta picture has fun both mocking its own existence and trying to find enough twists to justify itself. The result is a film which is superficially appealing even if it is ultimately undone by the contortions necessary to keep the irreverent sleight-of-hand going.

It may have its failings but it is never less than entertaining.

An effective, albeit somewhat artificial, exercise in suspense, The Wall derives much of its propulsion from Aaron Taylor-Johnson’s grunting, grimacing performance as a wounded US soldier squaring off with an unseen Iraqi sniper.

Joel Edgerton and Ruth Negga play the Lovings as refreshingly ordinary people caught up in the swirl of history, but a benign tastefulness overcomes Loving, smothering chances of a meaningful engagement with the material.

The period details are impeccable, the look and feel are seductive, but the muddled script lacks the killer instinct of its central figures.

The romantic comedy-drama Rules Don’t Apply is, by turns, fizzy and melancholy, nostalgic and clear-eyed, but it never builds to anything especially substantial.

While the bracingly bleak climax will come as a surprise to pretty much nobody, it still comes with an efficiently grisly pay off.

Deftly made and diverting for young audiences but unlikely to linger, with any vibrancy tempered by the familiarity of the tune.

In the end, Marry Me can’t wed its conflicting ambitions, resulting in a likeable picture that’s hard to love.

Sure, the motorcycle wheelies are cool, but there’s nothing more intense than the raw emotion that comes from a mother trying to protect her child.

It’s a handsome film, but a conventional one, rather missing the opportunity of allowing Salomon’s thrilling uninhibited style to inform the film’s aesthetic.

And while the story of the film lacks some of the sinuous inventiveness of its predecessor [Your Name], it shares the striking animation style, romantic sensibility and a similar poppy score.

Despite a fantastical premise and some truly eye-popping effects, The House With A Clock In Its Walls suffers from post-Potter fatigue; there’s simply nothing here, visual or thematic, that hasn’t been done before.

A cinematic symphony more than a classic narrative film, Terrence Malick’s long-awaited The Tree Of Life has moments of breathtaking visual and aural beauty, but in the end it has us longing for the days of Badlands, Days Of Heaven or The Thin Red Line, when the Texan auteur also knew how to spin a good yarn.

It’s easy to buy Hardy’s dual performance, and it doesn’t get in the way of the film – although some actor-ly exuberance in the delivery of Ronnie can sound an off-note, with Hardy using some facial prosthetics around the jaw line which aren’t particularly subtle.

While The Boogeyman — based on the 1973 Stephen King short story about a closet-dwelling stealer of souls — is as narratively generic as its on-the-nose (and oft-used) title may suggest, British director Rob Savage brings an innate humanness and playful spirit that lifts this otherwise-rote monster movie.