Although the film’s different realms are all imaginatively designed — as are the looks of the characters themselves — Wendell & Wild gets a little bogged down explaining the logistics of how these worlds work.

Unshowy camerawork and an understated score both place the emphasis on the largely impressive and naturalistic performances.

This may not be the most nuanced of films, but its blunt-force impact leaves one shaken.

A brisk and efficient thriller ... This combination of moral quandary and ticking clock peril makes for a bracing, if occasionally didactic, political drama.

The directors’ first joint feature is a tremendously effective revenge movie; a picture that reframes the neo-noir by harnessing a hate crime and diverting its power into a thrillingly transgressive erotic thriller.

Boasting a breezy spirit and Tom Holland’s likeable turn as the titular web-slinger, this new film is adequately rousing and jokey, but too often it has the feel of a transitional chapter which is meant to pivot away from Endgame to whatever producer Kevin Feige has next in store for these heroes.

Italian artist Yuri Ancarani’s mostly-silent travelogue captures the Arabian peninsula without comment, its repetitive, dreamy imagery providing an insight to an age-old sport which plays out within the trappings of extreme wealth.

As exciting as the film may be, Berg too easily undercuts the human element of his story.

All seamy New Orleans sleaze, with a neon and nylon aesthetic, the film relishes its own trashiness. But the writing is not focussed enough to make this much more than a cheap thrill.

Authenticity rules the day here, the contrast between the banality of daily existence and extreme conduct is the main point of the picture, all of it defined by an insistence on staying close to the actual events and refraining from any attempt at psychological observations or analytical motivations.

Deep down, Nineteen is a comedy, with a profound sympathy for its confused protagonist, who is left alone to struggle with identity issues that could so easily turn into mental health issues. But the film stays limber, hopeful and affectionate.

Emma Thompson again proves what a versatile star she is in The Dead Of Winter, not only convincing as a have-a-go heroine unexpectedly trying to save a damsel in distress, but also single-handedly rescuing this film from the worst of its formulaic elements. Indeed, lying beneath the icy surface of director Brian Kirk’s thriller is a lake of gooey warm sentiment that’s deep enough to drown in.

An intimate but ambitiously mounted ensemble piece, The Old Oak ranks among Loach’s foremost state-of-the-nation dramas.

A screenplay which could have benefited from another pass undermines the credibility of what comes before, and, despite a formidable intensity from Riseborough throughout, leachs tension along with plausibility.

A Taxi Driver can over-reach towards its final chase sequences, which enter the realm of fantasy, but they’re not enough to de-rail this fine film.

This is an undeniably moving story, and Winson — who died in 2015 aged 106 — a man worth honouring, but One Life comes across as an orchestrated tearjerker.

As is often the case with Moore’s impassioned documentaries, 11/9 frustrates as much as it rouses, bouncing from topic to topic without fully digging into any of them. As such, it’s a highlight reel of grievances against government, corporations and the status quo that preaches to the choir.

Stewart and Davis have such adorable chemistry as the central couple — playful and flirty one moment, touchingly sincere the next — that it’s a shame DuVall has stranded them in such an unsatisfying story. Granted, Happiest Season is meant to be cheesy in the comforting way that cable-television Christmas films often are, but all too frequently the actresses seem smarter than the material, forced to navigate preposterous twists and increasingly silly plot complications.

Sporadically very funny, always entertaining, tonally, it’s a blend of The League of Gentlemen and Deliverance, but with beatboxing rather than banjos, and considerably more drug use.

A film about stellar spycraft that’s been made with comparable steely intelligence, The Spy Gone North (Gongjak) boasts little action but compensates with director Yoon Jong-bin’s considerable ability to weave suspense while depicting the subtle maneuverings of a fraught covert operation.

In its unassuming, intuitive way, the film is rather beguiling, if a little gauzy and elusive at times.

Beautifully designed, carefully measured and expertly cut, The Outfit is a handsome debut from director Graham Moore.

There’s a slightness to this tale, and also a nagging familiarity in its exploration of twenty-something restlessness, but Raiff’s compassionate eye — paired with Dakota Johnson’s melancholy turn — results in a touching, understated affair.

There’s an air of well-oiled, made-for-TV efficiency about the exercise that extends from Lunchbox director Ritesh Batra’s safe hand on the tiller to Stephen Goldblatt’s golden-light photography.

In focusing on Bell’s flamboyant performance and moving the action along at a frenetic pace, [Palmer] did what was required here in making a rowdy, infectious entertainment.

A slight but ultimately moving drama.

As with his United 93 and Captain Phillips, filmmaker Paul Greengrass has taken a horrifying true story and brought sober perspective to it — in the case of 22 July, suggesting that a community’s response to terror can be as critical to a democracy as the attacks themselves.

A savage black comedy and an up-to-the-moment commentary on contemporary society, Bloody Oranges launches a broadside on political correctness.