While the book had a kernel of believability and seriousness, on screen the drama is pretty insipid. The comedy, which produces only a handful of real laughs, comes from each character in turn, with Wilson dominating – and providing the mostly verbal raunch – in her now familiar party animal persona.

While shunning all the heroic pyrotechnics associated with this genre, [Lindholm] lays bare the moral and ethical dilemmas his main character, and many like him, have to face, raising questions that have no immediate or available answer.

The stakes are higher, the action is bigger, the ambitions are grander, the jokes are appreciably less funny. Like many comedy sequels, Zoolander 2 supersizes everything in such a way that it’s that much more apparent how few of the jokes are connecting.

Clocking in at just 96 minutes, Sword of Destiny feels heavily truncated, lacking in narrative substance. Scant characterisation and timid action choreography don’t help matters, while an over-reliance on simple sets and CGI landscapes mean Grant Major’s (The Lord of the Rings) production design lacks the resonance of the previous film.

More often than not, Deadpool’s bratty energy feels liberating, allowing for a sexier, dirtier, more hilarious superhero movie than the typical all-ages Marvel affair, which is so concerned with maximising profits that it risks offending no one.

Unquestionably uneven and only occasionally inspired, Hail, Caesar! is nonetheless engrossing and funny thanks to its off-kilter energy and a lead performance from Coens regular Josh Brolin that’s a model of quietly controlled chaos.

Swiss Army Man is a powerfully audacious and wilfully odd odyssey that is too nervy and strangely emotional to dismiss outright but, ultimately, isn’t satisfying enough to provoke a full-throated defence, either.

Yoga Hosers is a movie that feels like it was more fun to make than to watch.

Solondz’s latest is morose and jaundiced and, although uneven, a relentlessly clever little film.

The culturally specific elements that Iran-born, British-based first time writer-director Babak Anvari brings to the picture makes this a distinctive spin on a familiar premise.

Helped enormously by deeply-felt performances from Ellen Page and Allison Janney, this film mostly overcomes its unevenness by finding rich pockets of emotion and insight.

Though sometimes achingly on-the-nose in its attempts to foreshadow these characters’ destiny, Southside With You radiates enough wistful charm to overcome the well-meaning earnestness.

John Carney’s 1980s-set Sing Street is like a barnstorming tribute group. It’s crowd-pleasing, heart-warming, hits all the right notes, and is eager to please.

Small moment by small moment, Other People turns Kelly’s own experiences caring for his mother into something touchingly universal.

If the humor doesn’t always hit, the film’s darker conspiratorial turns never feel genuinely suspenseful, either. Even when Johnson ups the emotional and physical stakes for his character, the bogusness of the production interferes.

Newtown, which focuses on the bereaved families, is about coming to terms with loss.

Markees Christmas is an appealing, sensitive find as Morris, with Robinson striking all the rights notes as his struggling father.

The early potency of this macabre fairytale becomes increasingly diluted however, as the film progresses and the story broadens.

The visual textures of The Lovers and the Despot, edited by Jim Hession — and the Kim audio tapes — make for vibrant cinema.

There is not an ounce of flourish to the filmmaking, but that’s always been the director’s aesthetic. His embellishments come in subtler forms, with witty dialogue and memorable characters—traits that Love and Friendship offers in abundance.

Lo And Behold, Reveries Of The Connected World is a modestly profound and consistently fascinating musing.

The remarkable, magical thing about this film is that, at 85 minutes, it’s so whole. With its fully-formed people and changing places, Little Men is a film a viewer can live in, and think about while they’re there.

Robert Greene’s latest fusion of reality and meta-fiction is fiercely intelligent, but inescapably tars itself with the ghoulishness it critiques.

It’s not that [Krasinski] fails, or that his film isn’t desperately charming as it goes about its business, but this is very familiar American indie territory, and The Hollars stops well short of innovation.

Ross and his two leads set the stage for a provocatively unsteady romance that’s initially entrancing, honouring all the uncertainty inherent in new love. But eventually, Frank & Lola succumbs to a series of progressively more implausible twists that run counter to the carefully constructed everyman that Shannon has essayed.

In a scant 72 minutes and in a few locations, Holmer has found a dignity in her appealing subjects, and a mystery.

Equity is a smart Wall Street thriller which is most engaging when it’s exploring the obstacles facing its female protagonists specifically because of their gender.

As sunny as Eddie The Eagle is, its greatest liability is that it never pushes itself, content to let an amiable true-life tale be turned into a generic genre exercise.