Despite the clear compassion the filmmakers have for the title character and those in her orbit, the result is an oddly alienating movie that treats every plot point with hyperbolic life-or-death stakes.

Often, stories with terrific narrative hooks run out of steam, but Lábrèche and Léonard keep coming up with satisfying plot twists which take the film into unexpectedly deep emotional waters.

Bad Day succeeds because of the quality of the craftsmanship, the decision to bring a more measured perspective to typical thriller conventions and the performance of Nigel O’Neill who makes a very human and flawed avenger.

Fortunately, the time-honored theme of brotherhood carries the film over its occasional damp patches along with Ding’s assured handling of stunts and pyrotechnics.

The unflinching rawness of the action has considerable impact while undercutting the dominant jingoistic tone. Despite the team’s tactical strengths, their plans often suddenly unravel because of unanticipated elements, resulting in stomach churning injuries.

Guardians of the Tomb, however, takes itself far too seriously, aside from the woeful running commentary provided by the thoroughly expendable Gary as the team plods from one dusty spider-filled room to the next, a sense of repetition quickly setting in.

Vampire Clay is clumsily structured and paced, with the gross-out effects dashed off at the beginning and the laboured explanation effectively defusing the tension just at the point when it should be building into a claypocalypse of gore and violence.

Smuggling Hendrix is an amiable affair that gradually grows on the viewer.

Asgari maintains a tight hold on the material as the night unfolds; there is little sense of hysteria or panic, just a steady drip of the shaming consequences that follow from the breaking of one taboo.

It’s a small, worthy, film that works reasonably well, although there’s something a little too linear about its structure.

Lucia’s Grace does provide a strong showcase for the range of Rohrwacher’s talent, displaying her skill with physical comedy and her ability to invest her character with emotional conviction.

Expertly assisted by a sexy, funny performance from Adèle Haenel, director Pierre Salvadori spins sufficient gold from a contrived storyline and some endearingly flawed characters.

The Dead And Others is very determined not to spell anything out. It is unassuming and respectful but there is a price for that. Patient viewers have to work hard to engage with the film and sustain their interest as the steady pace continues, and the running time closes in on two hours

Filmmaker Sergey Dvortsevoy thrusts us into a desperate situation and then offers little relief, which effectually captures his heroine’s fraught mind-set but also, unfortunately, begins to produce diminishing dramatic returns.

Us and Them may be too familiar to thoroughly distinguish itself from the spate of similarly themed love stories that have been churned out following the breakthrough success of Zhao Wei’s So Young (2013), but it’s certainly one of the more nuanced entries in the cycle and bodes well for Liu’s future behind the camera.

With more inspired lunacy or smarter plotting, Lobster Cop could have been a surprising treat. As it is, this is perfectly digestible light entertainment that won’t have anyone coming back for seconds.

The violence is never stylized, Córdova showing its subtle, corrosive force in these people’s lives.

Smart writing and an unflinching relish when it comes to the scenes of violence make for a deftly handled genre piece.

Veteran Danish director August (1987’s Pelle The Conquerer) has presented a well-meaning, flat film which also feels somewhat unfinished - although there’s not much in here to suggest that a further reworking is merited.

Last Letter is snugly nestled at the sugarcoated end of the director’s tonal spectrum with its tale of a family tragedy which revives a high school love triangle decades after it had seemingly ended in heartbreaking fashion.

This comic melodrama wrings every last drop of drama from the set up.

A perfect primer for anyone new to Le Guin, the documentary also has enough to offer dedicated fans, confirming her place as a major figure in American literature and as a spiky, rebellious and engaging personality.

Like the strong-minded but somewhat petulant Martina herself, the film delivers plenty of heady sensuality but is mainly skin deep and, ultimately fails to satisfy.

The more specific its characters are – and these are very specific – the more amusing the gags in this warm-hearted comedy about growing up and breaking free.

Though some of the interludes are surprisingly effective – Cong Cong’s playground romance is genuinely sweet – the downtime between disasters is mostly here to let the audience breathe. The draw of the film is its huge set-pieces, which easily best recent Hollywood essays in disaster such as Deepwater Horizon.

The overly busy story provides countless opportunities to create imaginative worlds and strange characters, but it also tends to feel like a string of set pieces rather than something that builds dramatic tension or momentum.

Writer-director Emmanuel Mouret’s lengthy but deliciously calibrated Love Affair(s) consists of talk, talk and more talk uttered by attractive protagonists in French settings that range from enviably nice to spectacular. This would fit perfectly in a time capsule under ’Unapologetic French Art Film’.

This is storytelling which is as enigmatic as it is compelling. Not surprisingly, the use of music throughout is superb.