Essentially, for all its sci-fi/disaster/zombie movie trimmings, at its heart the film is a mismatched buddy movie that celebrates the bond from birth between Porky and Daffy.

The film boasts plenty of comic-book action while also making room for a darker tone and emotional resonance rarely matched in previous installments. In a cinematic world stuffed with big-budget movies, Infinity War is a genuine blockbuster.

I’m Fine isn’t dour about its protagonist’s dilemma — nor is it disingenuously upbeat. Kali’s performance is full of attitude and quiet desperation, as if Danny stops rollerskating her anxieties will finally catch up with her.

Here, however, his bravura conducting of relatively conventional melodrama material doesn’t affect us as much as his best earlier works. In any case, it’s the actual music that often does the heavy lifting here – with selections from Chopin, Bartok and Bruch, not to mention Grégoire Hetzel’s score, spiralling saxophone capturing the vertiginous register of the whole affair.

Scintillating on the track but not as agile away from the races, F1 is a thrilling sports film susceptible to every cliché of its genre, confident that its expert setpieces will outrun all that is otherwise derivative about this underdog story.

Though audiences may have heard this one before, An Inconvenient Sequel: Truth to Power preaches effectively to its choir, with a decade of fresh data and increasing cataclysms...to persuasively make its case.

A film that is a small delight, a perfect cinematic short story.

Director Euros Lyn overdoes the feel-good trappings, but it’s hard to deny the genuine sentiment that the movie stirs up.

Mon Roi’s melodrama glossiness grates more than it convinces.

This likeable, terribly contrived charmer is helped by a game cast that almost gets away clean, ultimately hampered by a script that impishly (but not always confidently) switches between tones.

The notion that lives and loves are forged and defined in everyday moments isn’t unique; however it feels both accurate and earned here.

This earnest tale succeeds thanks to its potent themes — including the tension between old traditions and new ways of thinking — and Ejiofor locates the story’s emotional underpinnings without succumbing to cheap manipulation or mawkishness.

Meyers’s drama depends mostly on what it doesn’t show you, and it works.

The film imaginatively uses a presumably tight budget to claustrophobic advantage.

Day One never reaches the inspired heights of what came before, but Lupita Nyong’o and Joseph Quinn are compelling as strangers forced to work together in a devastated New York.

The film stands in the shadow of Michael Mann’s influential Southern California pictures, but a cast led by Chris Hemsworth and Mark Ruffalo add extra crackle to a story that salutes characters who are very good at their job – no matter what side of the law they are on.

There’s plenty to gawk at, and to argue over, in this episode - yet No Time To Die is oddly lacking in pleasure or real wit.

Ne Zha 2 is a distinct fantasy epic and a technical achievement that stands up to the best that Disney, DreamWorks, Aardman or Studio Ghibli can offer, even if it frequently gives in to the same proclivities for excess as its peers.

Even those with little interest in the beautiful game should be entertained by Saipan, a breezily engaging narrative.

Charismatic performances by Samantha Mugatsia and Sheila Munyiva make you believe in the characters and invest in the romance. When harsh reality inevitably intrudes on their dream love, the emotional impact is all the deeper.

Swedish director Jonatan Etzler, making his English-language debut, cannot keep this daring story plausible enough to offer meaningful insights into our broken education system.

Although conventional in its approach, the film is a forceful reckoning of a broken legal system.

A feature that might not always surprise in its story, but succeeds in its authenticity.

The film’s freewheeling dynamism and stylistic elasticity allow Fabian to shake off the stuffier tropes of historical drama.

Buoyed by two outstanding performances – from Adèle Exarchopoulos and first-time child actress Sally Dramé – and shot in ravishing 35mm, The Five Devils is a finely-crafted drama-genre hybrid, let down only by the fact that the story is a lot less interesting than the themes it carries.

The film’s second act is near spot-on comedy of discomfort.

Although overstuffed and uneven, at its best Gunn’s Superman combines the most admirable attributes of both character and director, resulting in an ambitious, occasionally stirring film that is weirder, nervier and more thoughtful than most blockbusters.

Underneath the entertaining horror, this is ultimately a story of the toxic trappings of masculinity; a world in which keeping a stiff upper lip and resolutely burying your demons can summon the most terrifying of consequences.