There’s plenty to admire in this trim, nearly dialogue-free 97-minute drama, not least Mads Mikkelsen’s raw performance as a downed airman waiting for rescue in the Arctic wastes, and the widescreen majesty of the Icelandic landscapes that stand in for the film’s polar setting.

Silva is a shrewd storyteller, uninterested in genre conventions or shock value; rather, he’s using that tension to tease out the anxieties of ordinary life and interactions.

A visually stunning, thoughtful, and profoundly unsettling study of the impact of male violence on the lives of three women played out in the pitiless sunlight of rural southern Mexico, Natalia López Gallardo’s feature debut Robe Of Gems is creepy in all the right ways.

An intimate film tackling an expansive subject — the treatment of refugees around the globe, and the way the world processes the traumas that lead to such urgent, widespread immigration — this is a poignant and morally complex drama.

If Sick of Myself runs out of narrative road towards the end, there’s still a decent quotient of dark humour along the way.

While the picture doesn’t quite maintain its vigorous energy through to the very end, it is still a satisfyingly knotty exploration of the bi-cultural experience.

Silver infuses some novelty into his Perils Of Pauline narrative, thanks to an extreme performance by Burdge, who plays the credulous lovesick naif to the hilt.

It can feel as if London Road is making the same point throughout, and in the same way – some thematic depth might have added bolster to the film’s dazzling artistic heft.

It’s a nice premise, one grounded and lent empathy not only by a series of strong performances but by the script’s point-of-view shifts.

As the action sequences grow more elaborate, Shang-Chi loses a little of its personality, succumbing to de rigueur effects-driven spectacle. Granted, some of these scenes can be stunning, but the visual pizzazz means less than Liu’s graceful navigation of this tale of a man who long ago fled his father and must finally face him. It’s these intimate character moments that help distinguish Shang-Chi from other MCU pictures.

Luca is undeniably slight. But there’s also relief in its modesty: rather than shoehorning spectacle and stakes into this story, Casarosa gives the film and its easygoing humour room to breathe.

Director Dan Trachtenberg delivers gripping suspense sequences, complete with agreeably gruesome kills, which juxtapose the landscape’s rugged beauty with this extraterrestrial hunter’s brute savagery. Amber Midthunder gives this sometimes cheesy affair welcome grit, staring down the Predator with compelling ferocity.

The perpetual undercurrent of tension between them always feels plausible and is well-rendered by Arana and Sanz, who co-wrote the script. Amongst all the glancing ironies and wit, time also is thankfully also found for a little old-fashioned tenderness.

The movie’s arresting visual conceit has enough flexibility to sustain interest, even if the story’s twists and turns sometimes feel excessively fiendish.

The rarefied world of haute cuisine is not exactly a hard target to satirise, but this deliciously savage comedy from director Mark Mylod makes every bitter mouthful count.

Much of Catch The Fair One’s lean authenticity comes from the film’s star (and real-life boxer) Kali Reis, who also gets a story credit on this picture. It’s a propulsive watch but, in common with many of the missing-person stories which inspired it, finds more dead-ends than answers.

Heretic has been crafted with expert care, and the strong performances help carry this dialogue-driven thriller. The problem is that the film’s ideas are not particularly stimulating.

Pete’s Dragon sports an undeniably old-fashioned, even slightly square demeanour, but even when that aura feels a tad forced, Lowery’s loving care gives the movie a likeable, small-scale charm.

As with babymaking, the conception is more fun than the delivery, which comes perilously close to turning our knocked-up heroine’s kill list into a series of very dark alt-comedy sketches.

At once a visually expressionistic hymn to female agency and liberation, a psychological thriller that always stays one step ahead of the viewer and a flamboyant reggaeton dance musical, Ema will strike some as a heady celebration of a movie, while leaving others bemused by stylistics that sometimes overpower narrative and psychological plausibility.

Fizzing with ideas, as difficult to pin down as its heroine, Divines keeps generating electricity long after the lights have gone down.

It’s one of the most powerful King features for some time.

While her work certainly speaks for itself, it’s fascinating to hear Addario tell her own remarkable story.

Once No Way Home finds its rhythm, the picture builds to a thoughtful, touching final act that does justice to the heroism and self-sacrifice that has always been central to Spider-Man’s appeal.

The sequel to 2012’s Wreck-It Ralph boasts a big heart and some clever comedic set pieces, and yet this follow-up fails to match the original’s balance of savvy pop-culture nostalgia and genuine emotional stakes. Ralph and Vanellope are still fun company, but their latest adventure is full of glitches.

A significant, ambitious and entirely impressive film by a dazzling young French director in full command of her ship.

The protagonists are pathetic yet see themselves as bold and daring and in this Bonello has captured something about the present moment that rings absolutely true.

Featuring vivid animation inspired by Daxiong’s drawings, the film is somber and hushed, able to stir emotions without resorting to manipulative tricks.