A rambunctious, sexy, funny, irreverent whirlwind of a movie, Dope doesn’t seem like it has much discipline or focus, but its frantic forward momentum and haphazard mixture of styles, although demonstratively entertaining, shouldn’t distract from a rather pointed political message about race in America.

Terminator Genisys is a reasonably entertaining and niftily executed sci-fi action-thriller, and yet its ingenuity and craftsmanship are all in service of justifying its existence, resulting in a sequel that can be appreciated for its cleverness but otherwise regarded with a certain amount of ambivalence.

Ted 2 is as subtle as a frat-house flick.

A surprisingly demented delight; a crazy, spirited, if simplistic fusion of off-beat adult humour blended with the sensibility of an anarchic toddler.

Jake Gyllenhaal brings likeability and commitment to a raw role, but despite a strong supporting cast director Antoine Fuqua never quite transcends the proceedings’ gritty, melodramatic blandness. A lot of care, heart and craft have been thrown at awfully familiar material.

Brooklyn balances its melodramatic leanings with several light touches.

Listen To Me Marlon is an elegy, with scenes of extraordinary beauty throughout – not least the young Brando himself — but Riley has not made a hagiography, nor is this documentary just for Brando fans.

While Jurassic World boasts a few efficient sequences...mostly it’s a grim affair that’s not leavened by adequate humour or a palpable romantic spark between Pratt and Howard.

Overly precious but undeniably affecting, Me And Earl And The Dying Girl travels into familiar dramatic terrain — the offbeat coming-of-age story, as well as the terminal-cancer drama — to deliver something that feels handmade and also heartfelt.

Arcevedo is certainly as preoccupied with image as he is content and it is perhaps the individual frames and tableaux which linger on past this resolutely-downbeat, emblematic story.

Matthew Heineman does break the mold in Cartel Land and gets inside citizens movements – better known as vigilantes – which overturn the cartels’ monopoly on violence, for a while.

It’s a sad, sad film about the tragic loss of a generation, but the thought of Brittain moving through the generations to deliver her message afresh is somehow a consolation in its final, rallying cry.

Trying to wring laughs from the nauseating sex-and-stardom exploits of fictional Tinseltown A-lister Vincent Chase (Adrian Grenier) and his buddies, Entourage consistently comes across as sour, shallow and misogynistic.

A forced and often cloying romantic comedy-drama with a strong, Bradley Cooper-led cast and an enticing Hawaiian setting but a bewildering mishmash of plot threads and themes.

The very earnest human drama fits awkwardly into the action and isn’t helped by some unconvincing performances and weak dialogue.

Rams may sound bleak and unforgiving but it has a generous spirit and wit that make it entirely accessible.

Tim Roth gives a meticulously withdrawn performance that speaks volumes, and although filmmaker Michel Franco can be too fussy in his starkly somber design, Chronic is nonetheless a captivating work.

This is not a venture into wire-work and acrobatics but a contemplative, often ravishing-looking, immersion in the complex politics, power struggles and personalities of the Tang Dynasty as seen through the moral dilemmas facing an enigmatic trained assassin.

Often laugh-out-loud funny, even (or rather especially) as the silliness escalates in the final half hour, this is a cult cineaste’s treat which rampages gleefully through a china shop of genre conventions. Only killjoys who demand narrative coherence will fail to respond.

Using techniques of distanciation that sometimes make it an alienating, even confusing experience, László Nemes’s cogent, strikingly confident debut is harrowing, but cinematically rewarding.

Using his characters as pawns on the chessboard of history, Mountains May Depart culminates in a nostalgic future where the Chinese look back for the identity they have lost.

One of the most consistently engrossing elements of Macbeth is Kurzel’s vision of that harsh world, helped by a tight unit of costume, design and camera.

Mon Roi’s melodrama glossiness grates more than it convinces.

Arnaud Desplechin’s My Golden Days is touching, involving and very well acted.

Kore-Eda’s film is more than the beautifully luminous faces of his actresses, the particular way they move and speak, or the lovely landscapes of Kamakura, even though all of these should be admired. So much more lies buried in-between the lines.

As all the dots join in a pattern that strives for deeper meaning, the just too-damned-cute Sea of Trees becomes undone by a surfeit of contrived ingenuity.

Sicario is an ambush, a low-slung film about a dirty drugs war with Mexico which challenges and engages in equal measure. It moves with grim tenacity, confounding expectations until its very final sequence.

The wry, flamboyant cinematic opera of Paolo Sorrentino reaches new heights of showy, utterly tasteful magnificence in Youth.