Boasting a few nifty action sequences and the always-compelling Jackman, Logan self-consciously aspires to retire this iteration of the steel-clawed hero with epic grandeur, and the results are often rousingly bleak. And yet, the risks taken...only make the formulaic redemption story and clichéd emotional underpinnings increasingly frustrating.

Balanced on the tightrope between comedy and pathos, the precision-tooled Mamacruz is essentially a sensitively observed character study, with Spanish veteran Kiti Manver delivering a compelling, nuanced central performance as a religiously-repressed woman in late middle age who comes late – in all senses – to the transformative power of her own sensuality.

Danny Boyle’s long-awaited return to the franchise he created in 2002 may lack the immediate, visceral bite of his original 28 Days Later, but nevertheless brings a satisfying mix of old horrors and new ideas.

A thoroughly enjoyable, visually ravishing feminist Western played out in the widescreen vistas of rural Indonesia, Marlina The Murderer In Four Acts weaves basic elements into a tale worth telling splendidly accompanied by a sit-up-and-take-notice musical score.

Despite high quality performances from Close and Pryce, the film leaves us with question marks over the credibility of the central scenario.

A political thriller charged with anger and sexual tension, this is as timely as it is bracingly entertaining.

Proceeds without flashy tricks or showy technique, offering the pleasures of captivating storytelling with an irresistible human pulse.

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

The funniest thing to come out of Belfast since [fill in the blank if you can], Kneecap is a riot which strains let’s-form-a-band film tropes (they’re the ‘shit Beatles’ via The Commitments), stirs in some Monty Python, sucks up the Young Offenders in all its shell-suited glory and blows it out at audiences in a blast of two-fingered audaciity.

It’s a little rough around the edges but there’s no denying the film’s unflinching potency.

Levan Koguashvili evocatively captures the unpredictable crackle of tensions and the tacit loyalties between the men; all sweat and beer and maudlin machismo, although the atmosphere of the picture is rather more compelling than its somewhat workmanlike plot.

The director’s latest has a lot to say about families and generational relationships, but this is also a film of quiet charm, anchored by a scatter of joyful performances.

Tramps is a good-natured little film.

All three leads get stronger as the movie goes along, in part because Miller’s full intention isn’t clear until about halfway through. These characters are foolish without being idiots, which produces a more sophisticated type of comedy.

A rich, densely cinematic film, it is a stunning assured debut from young Filipino filmmaker Rafael Manuel.

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.

Superbly acted and executed, this spare piece of storytelling marks an assertive feature debut for theatre and opera director William Oldroyd.

In its refreshingly frank look at the end of life, Much Ado About Dying becomes a thought-provoking study of what it means to live.

Amir Ebrahimi gives a remarkable performance that’s a smart mixture of fiery and openhearted.

An enjoyable star vehicle that provides the beloved comic with one of his most substantial roles.

Fitfully-entertaining, the film says many things in many different ways about one subject – the de-sensitising effect of the have-it-all media age on young people. Prolonged exposure to it will certainly reawaken the senses, although not in a way that’s always welcome.

Cole, best known for a supporting role in the TV series Peaky Blinders, gives everything to this role. It’s a physical transformation in which he convincingly plays a beaten, battered-to-a-pulp boxer who learns the rules of Muay Thai, but also a deep internal reach to deliver a complex, defiantly self-sabotaging character with depth of understanding.

Krieps is terrific in a role which depicts Elisabeth as both a victim of her gilded cage circumstances and a chain-smoking self-absorbed uber-bitch.

Klein has a strong grasp on all of the material, and editors Jake Keen and Alexander J Goldstein cut it together it carefully so that the past and the present often meet.

The film becomes convoluted in its final stretches, losing the effortless sweep which that preceded, but even then Rex’s masterful turn keeps us glued to the screen

The abutting of Conor’s conscious and unconscious states justifies the pullulating images, but the film’s overwrought tone can grate.

Director Lone Scherfig’s sentimental approach favours easy laughs and warm romance but the film starts to cut a little deeper in its closing stages.

When the film shifts into territory less Hitchcockian than Lynchian – with a touch of Park Chan-wook’s Asian Gothic – the quiet confidence of Kurosawa’s approach has paid off, allowing him to vault into this more intense register. It’s not all just ghoulish fun, though: there’s a serious subtext here involving everyday evil.