Cerebral and emotional, Tempestad is a road movie fuelled by the memories of unjust punishment. It’s a bumpy but illuminating ride.

While Bob does slink around some predictable narrative beats, this is still a slyly subversive film with a social point to make as it highlights James’s isolation in a cold, hard-faced London which responds better to animals than its hopeless humans.

A bravura performance from Matthew McConaughey as a schlubby, roguish mineral prospector in desperate pursuit of the American Dream is the seam that gives Gold its value.

While the dramatic destination may be signposted fom the off, this well-observed debut from actor-turned-director Prasanna Puwanarajah handles its themes lightly, leaning into dark comedy rather than melodrama, and that approach, together with strong central performances, serves it well.

Though it never gets too preachy, the film delivers its message about the dangers of stereotyping quite clearly and draws parallels with instances of everyday racial prejudice among humans.

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.

A small-scale, covert glimpse of the lives led behind the headlines.

As appealing and likeable as The BFG is, the movie doesn’t seem particularly groundbreaking or daring when it comes from Spielberg, who is revisiting his major themes here without necessarily reinventing them.

Ultraman: Rising lacks sophistication in its storytelling, but the film nevertheless achieves a quiet poignancy.

For all its showy excesses, sophomoric humour and strained gravitas, Ambulance is often riveting, the film speeding along as recklessly as that ambulance. This popcorn thriller certainly is not brainy, but its escapism has a muscular precision.

As predictable as their tale may be, Chaplin, Tena and Verdaguer serve their characters well, with the former and latter particularly impressing with the material.

There’s a B-movie purity to how this franchise conducts its business, eschewing the flash of modern blockbusters for a more pummelling, elemental approach to its shootouts and hand-to-hand fight scenes. On top of that, The Accountant 2 has added a winning sense of humour to the equation.

A quietly thoughtful and impressively acted drama.

Union is a solid work about an important subject. Yet, while the observational approach gives the picture an urgency and immediacy, it’s a film that might have benefitted from the addition of more contextual background information about Amazon’s labour practices.

If the film cannot entirely shake the suspicion that the creative peaks of this franchise are in the past, the depth of feeling in the performances suggests Marvel still has compelling tales to tell.

There is no shortage of drama to feed House Of Z.

A Ciambra may be a conventional tale of a young man trying to find himself, but the writer-director’s attention to detail enriches that setup.

In the end, there’s perhaps just too much sheen to this heartfelt portrait for it to really bite. But it remains a touching tribute to a woman who, von Trotta suggests, pitted a radical desire to question everything against the comfortable certainties of the men who surrounded her.

Aster’s bold flourishes occasionally fall flat, but Florence Pugh holds the film together — especially when its plotting stumbles or its shocks grow predictable.

Sama’s film captures the quicksilver sparks of an artistic moment – the point at which a loose bohemian community collectively finds its voice and forces the mainstream to take notice.

A melancholy character piece about a man who senses his run is nearly over, Jockey rides Clifton Collins Jr.’s gentle central performance to modest glory.

It’s all glossily camped-up nonsense with an amusingly inappropriate title, but luridly – and ludicrously – entertaining nonetheless.

If the film exasperates and exhausts, which it does, there is also the knowledge that before too long there will also be moments of surreal comedy, freewheeling invention and genuine tenderness.

Although a touch too precious and slight, 20th Century Women is lit from within by its endless curiosity about its evolving characters.

Despite its vaguely-generic title, this well-crafted close-quarters suspense from British-Iranian director Babak Anvari is firmly-written, -shot and -acted.

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.

Digger’s loyalties always reside with Nikitas, his quest to keep his home and his devotion to the woodlands; yet Grigorakis shows an environment- and economic-fuelled tragedy, too.

The sci-fi horror-thriller Ash makes the most of a minimal budget, casting Eiza Gonzalez as the lone survivor on a distant planet whois unsure how she got there or who she is. With Aaron Paul playing a fellow astronaut trying to help jog her memory about a massacre that occurred at the base, the film quickly establishes an aura of paranoia and bad vibes, paving the way for deft twists and an appreciably gory finale.