Compartment No. 6 is something of a minimalist shaggy dog story, ending on a bittersweet low-key note.

Through it all, Connelly and Englert completely sell their conflicted yearning for one another’s love but because this section is a late arrival, the revelations have to come thick and fast..

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

At its best, it’s signature Serebrennikov: ambitious, eccentrically amusing, visually flamboyant. But the film’s radical potential is ultimately diluted by its freewheeling nature.

Woman Walks Ahead is a story of defying expectations, finding common ground and gaining knowledge.

Its smooth efficiency offers plenty of sturdy pleasures. What’s missing are the emotional underpinnings that made these movies not just top-flight action vehicles but also stirringly soulful.

Precisely observed but somewhat aloof in tone, The Girl And The Spider builds into a symphony of separation and solitude.

Case 137’s no-frills style can leave the film feeling a tad generic, and one wishes that Moll resisted underlining some of his thematic points so strenuously. But there’s a laudable awareness of the racial, class and gender issues at play in this story of a dogged middle-aged woman going into battle against a heavily male police force.

Aided by Owen Pallett’s occasionally jittery score, Alice, Darling can sometimes possess the faint air of a thriller, albeit one in which the central menace is offscreen, far removed from Alice and her friends. But Kendrick, who has said she’s experienced psychological abuse in a past relationship, wrings dramas from Alice’s internal trauma.

John F. Donovan may revisit a lot of familiar territory for Dolan but on this form it is good to welcome him home.

Rambling but strangely compelling, Oh Mercy!’s documentary bedrock gives the investigation at the heart of the film a real authenticity. From around its midpoint, this uneven film becomes a riveting, compassionate interrogation drama.

Whedon and his large, capable cast (even larger for this follow-up) deliver enough adventure, laughs and flat-out spectacle to ensure that audiences will feel as if they have gotten their money’s worth, especially when Ultron zeroes in on the quiet humanity beneath the special effects.

It’s a likeable popcorn movie, with some good monster moments, an engaging international cast and Jon Turteltaub helming a family-friendly balance of laughter and mayhem.

Blank’s lively debut feels liberated by its maker’s creative freedom.

This engaging, eye-opening documentary follows Gordon over six years, as a book deal forces her to give up her anonymity and she further explores her own relationships with food, her family and society at large.

The film is as much an exploration of often contradictory human attitudes towards migration as it is towards the experiences of the refugees themselves.

Larrain uses the familiar narrative structure of the flashback and adds some operatic grace notes to deliver a performance-led film that is never less than expected – but also never less than watchable.

An unusual underdog saga about an ordinary investor who inspired a grassroots movement that scared Wall Street’s major hedge funds, Dumb Money is a snappy, entertaining picture that taps into a lingering resentment about how rigged the financial markets feel to many Americans.

Its ambitions might exceed its execution — there’s no shortage of stories to tell among these Corrientes teens, as the film makes plain — but One in a Thousand remains a potent, defiant feature.

Enzo makes a low-key but resonant coda to Cantet’s work, while thematically also being highly consistent with Campillo’s directorial output.

Haneke’s magisterial control of tone, actor and shot is not to be underestimated: there are scenes of quiet, nuanced authority and menace here that, true to form, compel our attention with their glacial brilliance.

Convincing portrayals aside, this conventional story is further bolstered by Power’s sparse approach. Brutal as many scenes may be, the filmmaker imparts a sense of aesthetic restraint, knowing that waiting is often more unnerving than blustering straight ahead.

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.

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

It may be a touch overlong – perhaps because everyone has to stop running to sing songs at regular intervals – and the emotional beats familiar, with moments of poignance, tragedy, gruesome comedy (a decapitated zombie in a snowman suit) and absurdity.

As with his award-winning debut, the French filmmaker sometimes risks heavy-handedness to make his points, but his argument’s brute force is amply persuasive.

It’s the kind of horror which eschews jump scares in favour of a more subtle, gauzy sense of unease, a slow-burning discomfort that creeps up on the audience like a half-seen shadow. It’s not exactly terrifying, but there’s an oppressive sense of menace which is magnified by the high-quality performances from the two young stars, and by the nervily watchful camerawork.

Suffragette’s strength lies in the fact that, even though some of the characters and events depicted seem archetypal, and they’re certainly composites, they turn out to be more than that.