Perversely pleasurable, it works on its own self-conscious terms, though not all audiences will appreciate its English brand of sad-sack humour.

The script puts artsy effect before character credibility.

The ceaseless stupidity of men is lamented but also dissected in Sleeping Giant, a thoughtful, well-observed but also familiar coming-of-age drama.

As thoughtfully rendered as much of Hologram is, the film eventually succumbs to the material’s fundamental triteness, offering done-to-death life lessons about second chances and the value of broadening one’s perspective.

Bastille Day is fun, for the most part, but the biggest take-home here is how easily Elba could slip into Bond’s shoes.

The filmmakers rarely go beyond being pleased with how strange this convergence of pop-culture and political figures must have been, and so Elvis & Nixon comes across as both thimble-deep and distractingly self-satisfied.

Justin Kelly’s King Cobra bears the distinction of being the first optimistic black comedy set in the world of gay porn production that’s also extremely classy.

Despite the slapdash plotting, the film – taken from the point of view of the star – gives an uneasy insight into the celebrity’s co-dependent relationship with the people who make him, and can destroy him.

It is a sad little tale but one that manages to find notes of hope amongst the setbacks and rejections of everyday life.

Civil War is an exciting, often giddy pop pleasure.

From the earnest score to the breathless talking heads to the atmosphere of awestruck reverence, this is a film which takes itself every bit as seriously as its subjects.

If there is a star in this show, it is certainly cinematographer Nathalie Moliavko-Visotzky whose work stands out as the one perfectly valid reason to watch this film.

The victims of notorious Chilean torture camp Colonia Dignidad suffered more than enough without Colonia adding insult to injury.

An intriguing and absorbing delve into almost alien parts of the United States.

Bouquets all round: Stephen Frears goes broad in Florence Foster Jenkins, and the appeal should be wide.

Although the seams may show on a narrative level, and some may find it over-cooked, this is a luxurious slide into female neurosis.

Vroman follows up The Iceman with a competently-made film, featuring solid production design from Jon Henson (Testament of Youth) and some good, gritty chase sequences, particularly at the film’s onset.

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.

A sporadically funny film that has moments of real heart in what’s otherwise a formulaic study of an aggressive businesswoman who learns to stop being so selfish.

While some may find Bang Gang a calculatedly chic opening salvo for a feature career, it carries a genuine emotional charge, and overall Husson shows she means business.

If judged by fluid effects work, Atwood’s stunning costumes, and the fun of watching Theron and Blunt reach new heights of arch camp, The Huntsman: Winter’s War is a triumph. By any other measure, though, it’s a far more qualified prospect

Conjuring up a serving of visual magic is one thing, of course; bringing Kipling’s characters and narrative to life is another.

The film is unashamedly middle-brow and sentimental but it tells such a good story that it is hard to resist.

Standing Tall can’t be faulted for energy and for seriousness - and offers a rare case of a troubled-teen drama in which the justice system is seen as entirely benevolent, and a source of succour to troubled souls.

The affectionate rapport between the actors and their characters is evident in every scene and manages to transport the wary viewer through an odd but not unappealing mixture of mystical road movie and family psychodrama.

The input of the eloquent, brilliant, bitchy circle of friends with which he surrounded himself creates a portrait of the man which is every bit as candid as his work.

Gorging on bombast and self-importance, swamped by its own mythology, Batman v Superman is loud, sprawling, and distracted. The action jumps around almost as fast as a man can fly, but nowhere near as smoothly.

Even given that lazy stereotyping is the point of her schtick, Vardalos’ broad routine hasn’t aged well, her heavily-(and widely-) accented ‘oily’ Greek family an uncomfortable, almost retro fit for today’s global sensitivities. Apart from that, the gags just aren’t that funny.