It’s a joy to see them performing energetic old hits like ’Popscene’ and ’Song 2’, and a privilege to watch them create their more introspective new material.

In the hands of Romain Gavras – music video wiz and maker of 2010’s eccentric Our Day Will Come – and with a mischievously cast giving its best, the result is ebullient enough to feel fresh.

As truths are shared, revelations uncovered and reunions achieved, Memory Box becomes a warming tale of truth and reconciliation.

The reason it still mostly works is because the actors play it straight, with Rutherford displaying a sense of directness that compensates for the occasionally wobbly tonal shifts. The few instances of slapstick, however, are always more awkward than hilarious.

The restrained, austere filmmaking of the latest picture from Wayne Wang belies the emotional depth of this sober picture.

Scripted with heightened literary cadences by Ron Hansen and Jim Shepard, the film is well crafted in every respect, and marks an acting career high for Katherine Waterston, as well as a fine showcase for the ever more impressive Vanessa Kirby.

Childhood is a mystery we endlessly come back to and a place the Leydens have never fully left; Ní Chianáin gives the viewer an intimate view of it in this unusual little story.

This is a ruthlessly controlled drama that achieves its powerful effect by holding back when its dramatic content is most intense.

Wind River can be thrilling and it owns the ability to surprise and shock throughout.

Ben Affleck produces one of his most irresistibly entertaining dramas — albeit one that never forgets the capitalist reality of this feel-good story.

Feel free to ignore the nonsensical plot and tortured musings on honour, revenge, loyalty and destiny. All that matters is how director Chad Stahelski concocts his usual litany of flinty fight scenes, and how Keanu Reeves invests the material with his wonderfully spacey stoicism.

Whether it’s a self-portrait, a series of sketches, an artist who is continuously working over a painful loss, Honore’s film betrays mixed emotions that may never be resolved as he carries the losses of that time with him forever.

A tour de force of drama, composition and colour.

Lucy And Desi benefits greatly from a raft of archival footage ... Repeated montages and a schmaltzy score can lessen their effect, but Poehler has strong sense of the couple’s contribution to the entertainment industry, and nobody watching her documentary will emerge anything less than convinced of how outstanding that was.

This is unflinching, but is very much a film of love and understanding

A bright, light confection about resilience and joie de vivre into old(er) age that’s as predictable as it is disposable.

Though the film doesn’t scrounge too deeply, offbeat gags, ample emotion and parallels with human nature all go hand-in-hand.

It’s a slow burner which gambles that the incremental build of tension will keep the audience involved, even as the stoically inexpressive central character holds them at arm’s length. It’s a gamble that pays off

While this is a familiar story and backdrop, its tender, empathetic storytelling is elevated by handsome cinematography and heartfelt performances.

Although the story’s point is clear, the plotting is thin, and it can be easy at times for viewers to feel as confined as the prisoners. But the production design – all grey cement walls, with that platform cutting through the center of the screen like an infernal dumbwaiter – is superb.

Sometimes the convoluted story forces its emotional beats, but Hoppers is a largely successful animation that introduces a refreshingly darker strain of humour alongside its paeans to the natural world.

Haley Lu Richardson and Owen Teague are both excellent at conveying everything that remains unsaid between these estranged siblings, eschewing melodramatic flourishes for stoic insights.

One can feel Williams’ anger at an America that imperils young Black and Latino men, viewing them only as potential threats, but the picture never fully gets a handle on its mixture of satire and seriousness.

Although it lacks the layers evident in Yeon’s acclaimed animations (including the thematically-linked Seoul Station), this is still an entertaining ride, as well as providing political commentary when it overtly references the Korean government’s response to the MERS virus alongside commenting on the country’s class system.

A thoughtful and fascinating piece, it’s a game of two halves, however, with Lindeen making heavy work of modern-day footage which tends to drag on the dynamism of the past.

Though its many narrative twists and amusing turns might wear down less adventurous viewers, this film will be embraced by those who enjoyed the director’s dystopian critique Sorry to Bother You and his equally scathing series I’m a Virgo.

Uncle Howard begins as a slightly tentative film about a nephew’s quest to discover more about his adored film-maker uncle, Howard Brookner. But it grows into a perceptive, poignant documentary which looks at many things.

Although the premise is undoubtedly far-fetched, Malaysian director Sam Quah succeeds in constructing the kind of tightly wound suspense piece for which disbelief can be suspended.