With its black and white characterisation, the film approaches its complex theme in a way which may seem a little too simplistic to be fully satisfying.

Remarkable access and nerves of steel (on the part of both the subjects and of filmmaker Hogir Hirori) makes for a riveting documentary which is as tense as it is revealing.

Kala Azar is something rather special. It’s foetid and atmospheric, a feral scavenger of a film which sniffs around its themes before sinking its teeth into the meat of a beasts’ eye view of the breakdown of civilisation.

Luke Wilson and Martin Sheen are respectably earnest as the caretakers of these blandly noble underdogs, but this sepia-tinged portrait slavishly follows the playbook at every turn — which is ironic since it’s a film meant to honour a coach who won by being inventive.

While the titular criminal gang at the centre of this action thriller may be presented as supposedly quirky and unconventional, the film in which they operate is as blunt-edged and cliched as they come.

For audiences craving shoot-‘em-up carnage, the sequel contains an abundance of explosions, car crashes and kill shots, although the strained air of hip irreverence soon turns suffocatingly stale.

A girl-and-her-horse adventure that never really hits its stride, Spirit Untamed offers undemanding family entertainment alongside some easily digestible life lessons.

Loznitsa’s essay raises questions about the nature and ideological mechanisms of totalitarian myth-making, and the nature of public grief as propagandist display.

While there’s energy and edge to the picture, Cruella feels stitched together from different influences in order to justify a rather blatant attempt to renew interest in a moribund property.

This film is an informative, polished and bracingly upbeat production.

In The Heights’ boisterous tone — its uplifting mix of defiance and perseverance — deftly communicates the sense of scraping by but dreaming of more, facing discrimination but refusing to be silenced.

Lindon creates a portrait of first love which is fresh, honest and engaging.

A Quiet Place Part II proves to be an even fiercer and more emotional experience than the first instalment. Expanding its world slightly without losing sight of the elements that made the original so effective, this superb piece of mainstream horror filmmaking is bolstered by some terrific performances, most notably Millicent Simmonds as a deaf daughter assuming the role of family protector in the wake of her father’s death.

Gloriously ludicrous and stridently melodramatic, F9 is fuelled by its own goofy energy, delivering comically grandiose chase sequences and shameless fan service all in the name of giving audiences an uncomplicated good time.

He may not add anything new to the spy genre, but Zhang knows how to deliver a ripping yarn with the requisite panache.

Enfant Terrible is somewhat repetitive – ever more shouting, more hedonism, more tainted glory – but it’s never boring. It’s just not very insightful – full marks for the style, but the substance is best found in the books, and in the various documentaries about the man.

It’s not a good sign that, as the film crosscuts between its different story threads, Jolie’s becomes the least interesting.

Riders Of Justice is salty, violent, transgressive, button-pushing, non-PC and laugh-out-loud funny at times – and when you’re not gasping or laughing, it’s only to wonder at the mind which pulled all of this together.

It’s no spoiler to report that not everyone in Army Of The Dead will make it out alive — what is surprising is how little you’ll care who does.

The directorial debut from David Oyelowo is a rewarding, (older) family-friendly adventure which packs some crisply executed moments of nail-biting peril into a moving story which deals with grief, loss and newly forged friendships.

This arresting first feature blends sci-fi and fantasy to create a worldview which is at once savagely grotesque and alarmingly familiar.

While there’s no denying the picture’s ferocious forward momentum and skilful execution, the empty swagger leaves the whole enterprise feeling a bit mechanical — a heist without the faintest whiff of escapist pleasure.

It’s a largely harmonious blend of action, comedy and drama which derives much of its buoyancy from three well-cast leads who generate a credible sense of reconnection.

This gentle comedy has some touching moments between Crystal and Tiffany Haddish, playing a struggling singer who befriends his character, but Here Today ultimately proves too saccharine and manipulative to elicit the tearjerking reaction it so strenuously strives to achieve.

Jessica Beshir’s hypnotic, immersive and very beautiful documentary marks an impressive feature debut.

The dynamics of the Claire family (whose daughter is rarely to be seen) are several layers more interesting than the plot, which makes it all the more disappointing when a film that has ballooned its running time with attempts at nuance then bursts into silliness.

Egilsdottir makes Inga a very sympathetic figure, playing her with the bone weary resolve of someone who recognises that she has nothing left to lose.

With more than a dash of Jason Bourne and Mission: Impossible, director Stefano Sollima’s undistinguished shoot-‘em-up feels so indebted to its influences that it never establishes much of a personality of its own.