Director Travis Knight does his best to balance clattering spectacle with a modest girl-and-her-robot tale. He’s assisted mightily by Hailee Steinfeld, who infuses this uneven action film with significant soul.

Abbasi has made an Iranian noir which, even though it dares to poke around the spiritual capital of Iran with its largest mosque in the world, isn’t an assault on the Iranian government per se, but a crime thriller which shows how far fundamentalist morality can be twisted and how banal the face of evil really is.

Catak retains an effectively claustrophobic atmosphere and a tight focus on his characters and their issues.

Elstree 1976 entertainingly explores the world of the character actor and bit-part player.

It’s intelligent and clever scripting, and except for a few moments where the dialogue is overly expository, as if Burns doesn’t trust his audience, The Report pulls back the curtain on America’s political machinations and one of its most appalling policy decisions and attempted cover-ups with startling clarity.

The unfolding of this unusual friendship, however, and Henry’s lively performance against Lawrence and their resulting rapport, make it a sound prospect to spend some quiet time with.

Frot and Deneuve work subtle wonders with their purpose-written roles.

It’s an engaging drama, if not an especially resonant one

Del Toro’s predictably impeccable production design and tonal flourishes help bring the film to life, aided by strong performances from his leads, especially Jessica Chastain, who gives the otherwise reverent proceedings just the right amount of jolt.

The vivid performances capably capture the humanity at the centre of a film that can sometimes be dominated by Wright’s showy excesses — in particular, his overly elaborate set pieces. But there’s no mistaking Cyrano’s sense of tragedy, its lament for soulmates destined not to get their happy ending.

The quality of the performances goes some way towards mitigating the navel-gazing tendencies of the dialogue. Seymour, in particular, gives a lovely, textured vulnerability to recovering alcoholic Kate.

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.

[An] earnest, entertaining and imaginative old-meets-new adventure.

While its ideas might fail to fully coalesce, the film is unnervingly beautiful; an immersive and mesmeric aural and visual experience.

&t does effectively plunge the viewer back in those choppy seas for an object lesson in how politics can rapidly inflame a situation to dangerous levels, even when both countries had agreed the best place for him was Cuba.

The running time might prove challenging – there’s only so many handbrake turns, high-powered automatic weapons and skewered supporting cast members you can take before it starts getting repetitive. But then Na flips the perspective, making us question our allegiances and ask who the real monsters are.

Renee Zellweger gives the performance of her career in a film which is certainly an awards-friendly biopic, but strikes a darker, more maudlin note than expected.

Rather than fleshing out its characters, the picture uses them as props to mock our obsession with our phones and, predictably, young people’s inability to interact with the real world.. For a film about the evils of artificial intelligence, Good Luck doesn’t have enough of a human element.

Director Paul King brings the same comic sweetness as his acclaimed Paddington pictures, but this delightful, frequently funny musical resides in its own cheeky, bighearted sphere – despite having to adhere to the rules that govern all potential franchises, which treat valuable intellectual property even more preciously than one of Wonka’s prized candies.

Winocour doesn’t overstate her subtexts, but they’re there - Disorder is a film about haves and have-nots, about the psychological effects of war, and about the abuse of women as chattels.

Humanity is the first casualty of war in Bad Roads. Natalya Vorozhbit’s adaptation of her 2017 play is a howl of anguish over the recent history of the Ukraine and the impact of hostilities with neighbouring Russia.

It is a sad little tale but one that manages to find notes of hope amongst the setbacks and rejections of everyday life.

Although this doc is slender, it’s also fascinating, playing into nostalgia and current-day politics in equal measure.

The film is at its most arresting in its slick neo noir middle section.

It’s McKirnan’s unflappable performance and energetic humour that hold it all together.

The unguarded authenticity of this film shifts its simple story away from any banality towards being a revealing narrative which celebrates the creative spirit and ponders the invisibility of Blackness.

Ziba is a genuine intellectual heroine, and Hekmat conveys a sense of how her introversion and seriousness might set her apart in a hedonistic high-school culture.

As fragmented as its title suggests, Pieces of a Woman contains parts of a good film, possibly a great one.