The pleasure of watching five fine actors feed on each other’s crackling dramatic energy drives this sensitive if not exactly groundbreaking Swiss cancer drama.

While there is no doubting the filmmakers’ admirably humanistic and progressive intentions, however, the picture itself somehow ends up less than the sum of its often-impressive parts.

The team effort of the story flows into and becomes a part of the team effort onscreen, and the fight continues.

If Starve Acre seems to walk on well-trodden ground, Kokotajlo is nevertheless adept at inhabiting and revitalising the material. Familiar themes and moods haunt the film with their own uncanny insistence.

Mary Shelley is ultimately the story of a woman finding her own voice and asserting her independence and that will be the heart of its appeal.

Mexico 86 offers Béjo a substantial, compelling lead; it shows the Argentinian-born star absolutely at ease in a Spanish-language role, and using her characteristically low-key performance style to potent effect.

When the film gets more serious it produces some affecting moments between the two leads.

Bond has seen it all before, this team has done it all before, and the production juggernaut hits every beat with a carefully calibrated precision which can be deeply satisfying but also risk coming across as rote.

Whenever Herself settles into predictability, the strength of Dunne’s performance pulls that comfortable rug away. And if her screenplay and her acting helps audiences understand what it is to be homeless, to be vulnerable in this way, Herself will have been a A-grade build by an A-list team.

George Clooney and newcomer Britt Robertson are solidly compelling, but Tomorrowland remains only a moderate success, its ingenuity, wit and enormous heart too often at odds with a ho-hum story and tentpole conventionality that the film tries so hard to transcend.

While the film’s narrative may run a familiar path from conflict to resolution, Rotem’s light, authentic touch makes it an engaging journey.

An enquiry into the brutal rape of a black woman in 1944 Alabama broadens into an alternative, female-gaze civil rights documentary in Nancy Buirski’s latest.

Grandma was clearly made on modest resources and can look a little rough and ready in places. Viewers will, however, be more than willing to overlook its imperfections - because it is so funny and engaging and because Lily Tomlin is such a joy to behold.

It’s a visually rich and moodily atmospheric film with a keen sense for the unsettling, even if it boils together a mélange of somewhat familiar ingredients.

A thoughtful and fascinating piece, it’s a game of two halves, however, with Lindeen making heavy work of modern-day footage which tends to drag on the dynamism of the past.

Going in guns blazing and attempting to set pulses racing might not feel wholly appropriate given the facts at the heart of the film, but it does suit Lam’s usual style — not to mention audiences looking for non-stop thrill ride of a movie.

Thankfully, Eastwood’s sure grasp of this inherently compelling story mostly overcomes his sentimental propensities.

This horror-action picture offers modest genre pleasures and a consistently spooky vibe, resulting in a film that has been designed chiefly to ensure future sequels, although the story includes enough emotional shading and robust set pieces to be an engaging standalone feature.

Landesman’s film may not be scintillating drama, but it aches with muted anger, and his cast makes sure to keep the proceedings at a consistent simmering boil.

The muddled but icily engaging All The Money In The World is a thriller packed with ideas which director Ridley Scott only sporadically delineates with the same vividness as he does his stylish compositions. And yet, this true-life tale of the kidnapping of oil tycoon J. Paul Getty’s grandson maintains its hold, bluntly outlining how the desperate clamour for wealth poisons all those caught up in its frenzy.

It’s a chaotic, protracted, wild ride that takes the audience across global locations and through past and present, but the amped up scale, imagination and audacity, the spectacular action set-pieces, clever writing and in-your-face charisma of its stars including Shah Rukh Khan in a long-awaited return to the big screen make it, in Indian parlance, paisa vasool - a film well worth the price of admission.

A tentative connection warms to something deeper in a poignant, slow-burn tale of hope and healing.

Most of those who’ll see The Biggest Little Farm will be drawn by its ardent, gentle idealism, and less by its hard-headed look at the challenges of sustainable farming.

It is, however, creepy, suspenseful and nerve-wracking - and marks Gillespie and Kostanski as genre auteurs in the making.

Kechiche has developed an almost unique ability to give surfaces depth through his manipulation of dramatic beats and a quality of empathy that seems built into the roving camera eye.

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.

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.

By the time we reach an apocalyptic payoff, Titane has skated on and off the rails several times, with insouciant abandon. You miss the combination of bravado and control that made Raw work so well, but the deranged cocktail of outrage, excess, conceptual ferocity and sheer silliness on display here will make you gasp – and occasionally flinch.