Jude makes us think and makes us feel and succeeds in making Blecher a presence in the film.

Tyrnauer smartly dissects how stifling the era’s sexual politics were — and his affectionate portrait of Bowers sneaks in some balance by critiquing him for writing a juicy tell-all that, in essence, outed people without their permission.

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.

For a spell, this sequel to the 2014 hit intrigues because of its insistence on taking time to establish melancholy themes and thoughtful tone. But no amount of Denzel Washington’s weary authority is enough to distract from the fact that this overstuffed, ultimately unsatisfying potboiler merely dresses up its clichés in strained gravitas.

The template may remain essentially cheesy and the men still appear never to have experienced a dance floor. Yet it would be churlish to argue against a film of such smile-out-loud optimism.

It takes its narrative cue from the Bon Secours mother-and-baby home in Tuam, County Galway in which “significant” numbers of dead children have been discovered. Even though this is placed within a potentially-exploitative genre framework, it is still handled with sensitivity and sympathy by this latest female director to flesh out horror tropes.

The sixth film in the series is among the most outstanding, delivering a near-exhausting amount of stupendous action sequences paired with deft character drama and the requisite life-or-death stakes. Fallout is a testament to writer-director Christopher McQuarrie, who gives the proceedings a witty, sophisticated grandeur, and yet the film belongs to Cruise and his seemingly limitless passion for putting himself and his audience through the wringer.

Anyone expecting a shred of originality from this Dwayne Johnson vehicle will be disappointed, but writer-director Rawson Marshall Thurber tries his best to compensate by amping up the over-the-top spectacle, hoping sheer gusto will keep viewers from minding his film’s shaky foundation.

For all its deft style and sympathetic characters, there’s still something missing in We,The Animals. In its efforts to evoke a young boy’s inner-world, it falls short of fully capturing his emotional reality. Jonah’s story should be heartbreaking, but when we see images of him flying over the forest, it’s just picturesque and lyrical.

There are more engaging fireworks, or at least small sparks, when the film begins to dig into the feelings, friendships and jealousies of its two main protagonists.

The smouldering animosity of an impoverished small town towards two outsiders, combined with the contained tension as a precarious alibi collapses, one chance event at a time, means that the film should resonate with audiences looking for effective genre material.

It’s a testament to Macdonald’s performance (and later, to Khan’s charm) that we share her passion for puzzling.

With more inspired lunacy or smarter plotting, Lobster Cop could have been a surprising treat. As it is, this is perfectly digestible light entertainment that won’t have anyone coming back for seconds.

A documentary of stunning beauty and tragic violence.

Us and Them may be too familiar to thoroughly distinguish itself from the spate of similarly themed love stories that have been churned out following the breakthrough success of Zhao Wei’s So Young (2013), but it’s certainly one of the more nuanced entries in the cycle and bodes well for Liu’s future behind the camera.

Elements of craft and performance are very persuasive but the slight storyline and recourse to awkward flights of fancy make it a film that never quite gels.

Paul Rudd and his equally likeable cast mates find the heart and humour in familiar comic-book theatrics, resulting in a film which is less concerned with generating awe than in delivering plenty of goofy grins.

It’s a powerful, profoundly uncomfortable watch.

No matter how commanding Benicio Del Toro and Josh Brolin might be, Soldado is a less inspired or thoughtful redo of its predecessor, jettisoning nuance for amped-up nihilism.

It’s to Hepburn’s credit that Never Steady, Never Still avoids any of the histrionics or melodrama often associated with such stories. Instead, she offers keen-eyed, compassionate observation of the impact of illness that, while not shying away from its emotional toll, celebrates the strength and sanctuary a family can provide.

A thoroughly enjoyable, visually ravishing feminist Western played out in the widescreen vistas of rural Indonesia, Marlina The Murderer In Four Acts weaves basic elements into a tale worth telling splendidly accompanied by a sit-up-and-take-notice musical score.

This is a downbeat slog of a film which tells a not particularly involving story.

Sunday’s Illness doesn’t put a foot wrong.

Tag is all strained sentimentality and obvious observations about men’s inability to leave childish things behind.

If there’s one quibble with this nimble entertainment, it’s that Bird’s eye-popping flair outpaces his story’s emotional resonance. Incredibles 2 is such a fleet treat that it doesn’t always stop for its characters’ pathos to really connect.

No matter how melodramatic the story becomes, and how much the emotions boil, What Will People Say at least tries to understand both sides of this cultural and generational divide.

Like many movies set in colourfully bleak futures, Hotel Artemis can’t sustain the novelty of its initial world-building.

British actor and TV host James Corden gets a bigger role in the story’s last act, but even his cuddly charm and pop culture cachet fails to bring this surprisingly flat action comedy to life.