A Taken-style no-holds-barred family survival action film, with an inevitable side order of xenophobia undimmed by the indictment of faceless corporate chicanery.

[A] delicately calibrated portrait of dissolution which points to the versatility of writer/director Alex Ross Perry.

This is a delightful surprise, and though it is even more minimalistic than his last two illegal exports, This Is Not A film and Closed Curtains, it is also more mature, and better calibrated and - at the risk of annoying art house patrons who often hate this term - more entertaining than the other two.

Consistently off by a beat, Hitman: Agent 47 fails to ever click into gear.

Touching, funny, perceptive and simple enough to carry large audiences, The Second Mother is carried throughout by a hilarious, intelligent and soulful performance from veteran Brazilian actress, comedian and TV host Regina Case, surrounded by a solid supporting cast.

This is a moody comedy about unconscious marital discord, but it’s also about that ineffable discontent that envelops most of us. Digging For Fire is funny because it rings true — and because it stings a little.

Part stoner comedy, midnight movie, outsiders’ love story and ultraviolent B-movie, this intriguing film is given real soul by stars Jesse Eisenberg and Kristen Stewart, even if director Nima Nourizadeh’s ambitions end up being more laudable than the results.

This latest collaboration with star and co-writer Greta Gerwig radiates indomitable wit. And Gerwig is a hoot as a woman whose unflappable, unearned confidence lands somewhere between inspiring and horrifying.

In the end, for all the plot tension and genre tastiness –underlined by some acidic colour photography and lighting that plays up sickly yellows and purples – there’s just something a little too mannered about the exercise.

[A] depressingly inept comedy.

The film is nothing but a sensuous rush of snappy period costumes, elegant beauties, dapper men, kinetic action and so-so quips, and because Ritchie seems even less concerned with story than usual, that blinkered approach very nearly works.

With so much focus on spectacle, the film fails to explore this part of Korean history in any meaningful way. Assassination plays more to Choi’s strengths - witty dialogue and entertaining storytelling accompanied by strong visuals and cast.

A good cast led by Miles Teller gets swallowed up in a narrative that grows progressively more muddled and tedious.

A breezy but touching dysfunctional family dramedy, with real heart and some genuine musical soul.

It’s this adoption not only of Minnie’s point of view but the voice and narrative style of her half girlish, half womanly outlook on life that makes The Diary of a Teenage Girl such a vibrant, hopeful film.

Z For Zachariah’s beauty is its simplicity, Zobel telling the story with a minimum of fuss and resisting easy explanations for his characters’ actions.

Despite a twisty, juicy and compelling story, there remains a staid conventionality that keeps the political and thematic undercurrents from being explored as satisfyingly as one might hope.

It is sophisticated yet innocent, and while always accessible for young fans it never suffers from a lack of dialogue, with the straightforward and breezy story easy to follow and fun to enjoy.

The action scenes are predictably magnificent, and an excellent supporting turn from fetching new cast member Rebecca Ferguson helps make this a sexy, propulsive, top-notch thriller.

Initially, it plays like an atmospheric but predictable stalker thriller with not much more than style – and maybe the casting of the always watchable Jason Bateman – to recommend it. Later, though, it turns into a considerably more intriguing and twisty psychological drama.

Sporting a flowing mullet and aviator shades, Dinklage perks things up considerably as the story’s comically arrogant bad-boy-turned-good-guy.

The Gallows offers up few new ideas and very few genuine scares.

Before it starts to lose steam in its third act, Trainwreck is a deft blend of laughs, romance and poignancy — not to mention one of Apatow’s most polished, mature works.

Jokey rather than funny, and a bit forced when it’s trying to be sincere, Ant-Man has plenty of enthusiasm but not a lot of inspiration.

Tangerine paints a portrait of transgender sex workers and their clients that pulses with raunchy energy and compassionate humour. It’s a bracing slice of American indie film-making.

There are enough twists and turns in Self/less to keep things interesting

This likeable, emotionally precise film has a big heart and a genre-shifting construction that keeps the proceedings from feeling like just another young-adult meander. But despite an agreeably earnest performance from rising star Nat Wolff, Paper Towns covers familiar coming-of-age terrain and suffers from an opaque turn by newcomer Cara Delevingne that’s not quite as captivating as the story requires.

This sequel to the unlikely 2012 male-stripper sensation has an agreeably ramshackle spirit and another winning turn from star and producer Channing Tatum. As for the dancing, it’s as deliciously spirited as ever.