Gerbase’s insightful, quietly unsettling picture may, right now, be too close to the bone to attract viewers desperate for hard times distraction; but it deserves exposure, and should attract niche sales both on the strength of newsworthiness and on its considerable cinematic achievement.

Big, bombastic and full-blooded, Jeymes Samuel’s neo-Western might tick off plenty of the tropes of the genre, but the outlaw energy he brings to the picture makes it feel, if not fresh exactly, then certainly a whole lot of fun.

The third instalment of the re-booted Star Trek franchise gets safely through its voyage, offering a strong returning cast and a familiar, if slightly tweaked mix of effects-heavy space action, cheeky humour and philosophical musing.

This film is proof that, with the right protagonist, a documentary seems to tell its own story. Rodchenkov is one of those characters who, as they say, you couldn’t make up.

As much as BuyBust seems to be engineered for maximum excitement, it’s not without the complexities that are typical of Matti’s ambitious genre pieces.

There’s a lightness to the film and a loveliness to Feña’s open-hearted struggle.

Kim successfully captures the loneliness and entrapment underneath the debris and the chaos outside.

Equity is a smart Wall Street thriller which is most engaging when it’s exploring the obstacles facing its female protagonists specifically because of their gender.

Audiences will likely approach the film a series of sketches linked as much by mood as by theme. Some hit the spot, two or three are laugh-out-loud funny, but others seem little more than space-fillers in a film that is both enjoyable and frustrating.

The abiding impression is of an intermittently fascinating film that is a minor work in the ever burgeoning Herzog canon.

If nothing else, Deepwater Horizon makes a case for going back to basics with action films. It’s classically framed, executed, and feels like the real deal, and while it clearly boasts some fine effects work, it manages to lose the cartoonish aspect of so many recent tentpoles.

The brilliantly sustained mood and matter-of-fact absurdity of Valdimar Jóhannsson’s impressive debut is slightly let down by a pay-off which doesn’t entirely land. Still, the majority of the picture is strong enough to satisfy audiences with a taste for folk horror oddities, even if the ending isn’t quite as punchy as one might have anticipated.

The film benefits from Pugh’s charismatic performance and writer-director Stephen Merchant’s cheery mixture of crowd-pleasing sentiment, wry laughs and genuine sweetness.

With a cast impressively headed by James Norton, and cinematography that captures the bleakness of winter and deprivation to grimly palatable effect, Holland’s drama comes across in part as a meticulously mounted, sometimes solemn history lesson.

This slow-burning, pensively drifting evocation of the times of Sergei Dovlatov is not a conventional portrait, still less a biopic, but an imaginatively realistic recreation of a bygone era of Russian culture.

Younger fans of the modern actioner may find Manhunt a little old-school, especially in its unabashed romantic heart and flag-waving for the square-jawed good guys. But it’s breezy, handsomely mounted fun that shows that Woo has lost neither his mojo nor his sense of poetry.

All of this is familiar but still surprisingly effective, and it’s highlighted by Baron Cohen’s onscreen partner Maria Bakalova, who ends up providing some of this mockumentary’s finest moments.

Apart from being a series of comic vignettes, The Meddler is also framed partially as a romance, and a very endearing one at that.

Garver’s film is above all a celebration of the pleasure of intellectual and emotional response to art (“To be paid for thinking is a marvellous way to live,” Kael says), and a picture of a style of thinking that might be seen as distinctively but non-stereotypically female.

It truly growls in its depiction of the brutal nature of girl friendship and the shock of the menstrual metamorphosis.

Layering the life of Irish folk singer Joe Heaney through a flickering lens and leaning on the natural, unadorned voice of the sean nos [old style] singer, this doc/feature hybrid film isn’t perfect, but it is quite perfectly-made.

Overall, the film’s treatment of a sensitive scenario lacks subtlety, making for a tough and taxing viewing experience.

Shot with grace and sensitivity in black and white using available and natural light, What You Gonna Do is a visual treat, the easiest on the eye of all the director’s films to date. It is also, for all its unevenness, a stirring, committed portrait of black lives at a crossroads in the American South.

The film might not be doing anything revolutionary with the gay coming of age story, but it is heartfelt and honest. And at times, unexpectedly hot.

An instantly engaging tale of a young male dancer’s sexual awakening in contemporary Tbilisi, And Then We Danced is personal and political, romantic and educational.

With superb understatement, Marceau communicates Emmanuele’s seemingly inexhaustible patience, while hinting at all the unresolved feelings she has about this impossible man.

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.

Strikingly photographed, sensitively acted but torpid in its pacing, this is filmmaking which will require a degree of patience from its audience.