Nguyen’s documentary certainly leaves the viewer wanting more.

Outside of its admiration for mothers, Bier’s film seems to only vaguely hint at other ephemeral ideas, and as a result Bird Box is a curiously hollow experience.

Everyone here appears to be revelling in the juicy opportunities Earthquake Bird brings to hit up our memories of everything from Fatal Attraction to Single White Female.

Directors Henry Joost and Ariel Schulman have crafted a knowingly cheesy action movie that flaunts its adrenalised excessiveness, while Jamie Foxx and Joseph Gordon-Levitt, playing two very different men in search of the pills, never manage to transcend the project’s fundamentally generic, cartoonish design.

Anyone expecting a shred of originality from this Dwayne Johnson vehicle will be disappointed, but writer-director Rawson Marshall Thurber tries his best to compensate by amping up the over-the-top spectacle, hoping sheer gusto will keep viewers from minding his film’s shaky foundation.

With its uneasy and never-resolved conflict of interest between music star vehicle and music star drama and its lack of much at all to say about life, music or the creative process, Taurus ain’t rising anytime soon.

Though there’s some clunky dialogue and not much real character development, Reynolds manages to put the action, mystery and drama elements together into a credible, and at times quite touching whole.

The filmmakers preserve Seuss’s narrative beats but strain to replicate his whimsical spirit.

Nightride doesn’t try to reinvent the (car) wheel, nor does it really pretend to be anything more than it is. Fingleton shows us what he can do, so it’s efficient vehicle in the end. Like the audience, it knows where it is going. It all depends on whether those on board like the cut of its chassis.

Ultimately, 11 Minutes is as much a virtuoso party piece as anything - but it shows a veteran director in youthful form, clearly having a ball.

This live-action remake of the 1941 Disney animated classic finds the eccentric, inconsistent filmmaker tapping into his career’s core emotional themes and, on occasion, Dumbo has the magic and wonder of his best work. (And that blue-eyed baby elephant is awfully cute.) But there remains a frustrating impersonality — not to mention an audience familiarity with his well-worn aesthetic — that keeps the film from soaring all that high.

Like many would-be debaucherous evenings, Rough Night starts off with great promise, only to devolve into a series of poor decisions, regretful moments and a general sense of disappointment.

Ridley’s spiky sense of humour is a balm, especially early on when Joey interacts with her brother, but the script’s formulaic nature proves too much.

No matter Linklater’s efforts to keep the proceedings grounded in a light realism, this inherently melodramatic, sometimes absurdist material resists his naturalistic tendencies.

Though perhaps lacking in a real sense of dramatic tension; veering towards the schmaltzy at times and needing a far tighter ending, Woman In Gold is still a thoroughly enjoyable story, engagingly told and with a nice line in gentle humour to balance the legal battle structure which can veer to dryness at times.

Director Marc Forster lends this lightweight comedy-drama a crowd-pleasing breeziness, but the picture never cuts particularly deep, especially noticeable when it tries to tackle some darker subject matter. Audiences simply wanting an undemanding, reassuring entertainment may not mind, but Hanks’ change-of-pace role is intriguing enough to wish the material wasn’t quite so mawkish.

Resistance to this delirious romantic tragedy is futile, save for that nagging voice in our head wondering if it really has to be this way.

A raw central performance from Danielle Deadwyler brings some depth to this Blumhouse thriller, which otherwise maintains a creepy atmosphere but mostly trades in familiar psychological horror tropes and an abundance of jump scares.

There’s nothing more terrifying in this film than the creative talent wasted on such shockingly mediocre material.

This new instalment knows which story beats to hit, but it has little grasp of the emotional undercurrents that made the original resonate — how it touched on adolescent insecurities, first love, and the scourge of school bullies.

The latest from director Gavin O’Connor (Warrior) is part character study and part airport-novel nonsense, and the film’s utter chutzpah gives the proceedings an agreeable kick. But The Accountant can’t balance its B-movie instincts with its more artistic aspirations, ultimately hamstringing a potentially juicy, escapist shoot-‘em-up.

The filmmakers’ handling of the surprises has a narrative deftness and visual cleverness that is legitimately unbalancing. It also adds a blast of dark comedy to the proceedings.

As cheery as the whole affair can be, no amount of razzle-dazzle can distract from World Tour’s meagre storytelling — or the gnawing suspicion that the proceedings are targeting overstimulated young viewers who just want nonstop sensation.

With its Sadeian overtones, and glumly perverse excesses, this is not a particularly enjoyable experience. It will be best suited to the more experimental fringes of the festival circuit and to audiences who thought that Salo: 120 Days Of Sodom was too much fun.

The Gentlemen is a disposable crime caper on autopilot. Propped up by an all-star ensemble, particularly the sturdy Charlie Hunnam and scene-stealer Colin Farrell, Guy Ritchie reclaims the genre that brought him to fame but does little more than shuffle battered parts into an intermittently entertaining configuration.

There’s very little that’s shocking — and not nearly enough that is funny — about this romantic comedy.

The remake of Papillon doesn’t lack for potential metaphorical riches, yet this brutal, bruising film never quite connects with its deeper themes, resulting in a story full of suffering but not enough transcendence.

Riveting from start to finish.