All of The Big Sick’s power has gone into its script and performances.

This film is proof that, with the right protagonist, a documentary seems to tell its own story. Rodchenkov is one of those characters who, as they say, you couldn’t make up.

The Incredible Jessica James may be a slight romantic comedy, but there’s abundant pleasure in watching comedienne Jessica Williams in this star-making performance.

Though audiences may have heard this one before, An Inconvenient Sequel: Truth to Power preaches effectively to its choir, with a decade of fresh data and increasing cataclysms...to persuasively make its case.

A superpower movie with a premise absurd even by the far-fetched standards of the genre, iBoy misses out on the opportunity for entertaining mischief with a po-faced approach to the material and a lack of internal logic to the story.

The tonal shift in the sequel compared to the original means that, although there are plenty of moments of savage humour, the highs are just not quite so high any more. There’s a melancholy maturity, however, which is satisfying in its own way.

There are touching moments...that could only have come from real life, and the film is all the better for them.

This well-meaning debut feature about following your dreams just treads water.

Any hopes of smart social commentary or unsettling psychological underpinnings are quickly shattered by a clichéd screenplay and amateurish performances.

This low-budget combination of thriller, horror and satire flaunts a smartass tone that proves deadening, and as the body count starts rising, viewer interest quickly begins dropping.

Viewers are in good hands — if they’re not too demanding — as Zhang Yimou puts the easily distinguishable characters through their paces.

Open-minded audiences will discover a surprisingly refreshing, smart, intelligent and often entertaining, tongue-in-cheek take on the nature of family bonds, using references from the Old and the New Testament, with modern characters nicely fitting the mythical moulds without suspecting there is anything even remotely symbolical or divine about their existence.

A bravura performance from Matthew McConaughey as a schlubby, roguish mineral prospector in desperate pursuit of the American Dream is the seam that gives Gold its value.

These troubled, lovable, prickly, obsessive entertainers, supported by brother-son Todd, invite the viewer into their rackety lives – bright, lived fully in the spotlight, chin-up and completely unsinkable.

This Prohibition-era drama deals limply with themes of loyalty, love, power and redemption, but not in any unique way, its emotional punch as vague as its cipher of a main character.

Assassin’s Creed is nearly wall-to-wall violence, but Kurzel reveals an eye for widescreen composition that, paired with Christopher Tellefsen’s efficient, hyperactive editing, gives the film the tenor of a sophisticated graphic novel.

Part space romance, part space thriller and all space corn, Passengers is a messy and unconvincing mash-up that tries to get by on the not inconsiderable charm of stars Jennifer Lawrence and Chris Pratt.

Collateral Beauty never manages to shake off its all-too-deliberate air or willingness to follow the easiest path. Its life lessons are packaged with cloying, overt mawkishness which aren’t quite the feel-good home run Frankel seems to expect.

Perhaps the darkest, most action-packed Star Wars instalment, director Gareth Edwards’ standalone adventure establishes its own rhythm, balancing fan demands with grand, poetic moments unlike anything this cinematic galaxy has previously achieved.

A compact triumph of stop-motion animation in the service of a bittersweet tale, My Life As A Courgette (My Vie de Courgette) is as delightful as it is affecting.

Everything in Hidden Figures is smoothly efficient but also a little anticlimactic and frictionless — the story’s happy ending a little too easily achieved.

Uneven, sometimes repetitive but also powerfully moving and thought-provoking, Silence is an imperfect movie that’s very hard to shake.

Once past a first reel which deliberately sticks to torture porn conventions, Pet is redeemed by a series of developments that take the film into surprising story and character areas.

Abattoir gets past its clunky storytelling with a great look - dark, shadowed, with a 1940s hardboiled feel - along with some well-staged shocks and scares.

For all its attempts at inventive excess – and at slightly more sophisticated humour - this scattershot gross-out comedy ends up producing chuckles rather than real laughs.

A film directed by Katie Holmes (and produced by Tribeca co-founder Jane Rosenthal) is a curiosity, and in this case a competent curiosity - no less competent than most of the independent films out there.

It has plenty of heart and lots of fighting, but could use a little more magic.

Despite some pacing issues and a slightly repetitive second act, this is a polished production which establishes writer/director Aleksei Mizgirev as a talent to watch