Consistently, persuasively unnerving, It turns the coming-of-age drama into a nightmare.

Darren Aronofsky’s churning fever dream mother! is a devouring and restless experience: a creative surge that’s like the lancing of a boil, releasing a torrent of despair and disgust for the greedy chaos of society today as well as a self-loathing portrait of the artist as an emotional succubus.

Suburbicon is a solid, pleasing piece, even if it never quite reaches the bleak heights its set-up promises.

This documentary reminds us that justice can be as elusive in the US suburbs as anywhere else, and that having guns keeps people who are born different from getting too close.

A ripe, bittersweet romantic tragedy lies at the heart of Tulip Fever, but director Justin Chadwick’s aggressive tastefulness smothers the life from this potentially lusty melodrama.

A production line effort with an eye on cashflow rather than the demented work of art Hooper loosed on the world, this eighth entry is above average for its attenuated series. Gore levels are as high as expected and, naturally, the finale leaves things open for further instalments.

Guillermo del Toro channels all the streams that make him unique into The Shape Of Water, pouring his heart, soul and considerable craft into an exquisite creature fable.

There’s something for everyone in Downsizing - just not a full meal.

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

Maurery handles her character, a nasty piece of work to be sure, with such natural aplomb that she makes Mrs Drazdechova not only perfectly credible but pretty scary too.

Stars Dave Bautista and Brittany Snow aren’t compelling enough, and the film’s formal gimmicks aren’t clever enough.

Without the crucial performance element – we only see Morrissey on stage once – this ultimately feels like a taster; a prelude to the main story.

It’s a breezy trip for the star, making ample use of his usual charisma, urgency, grin and gift of the gab, though the late ’70s/early ’80s-set film doesn’t completely hit the mark.

It might be fitting that a film about a film made under a censor-heavy regime is better to look at than engage with, but it also says much about the slight and stretched The Queen of Spain.

Silver infuses some novelty into his Perils Of Pauline narrative, thanks to an extreme performance by Burdge, who plays the credulous lovesick naif to the hilt.

A Taxi Driver can over-reach towards its final chase sequences, which enter the realm of fantasy, but they’re not enough to de-rail this fine film.

By betting everything on the chemistry between its two leads, a tired formula and by-the-numbers action, The Hitman’s Bodyguard misses the mark.

It’s the right film at the right time, a cathartic moment in which audiences will shed tears for a little machine made of silicon and aluminium, wrapped in tin foil and running on less computing power than our smartphones, yet which will outlive us all – perhaps by billions of years.

Thanks to a sterling lead performance from Oscar Isaac, the Coen brothers have once again delivered an impressively nuanced character study — one that has much to say about art, compromise and all the aspiring hopefuls who never got their moment in the sun.

It may have its failings but it is never less than entertaining.

Brie Larson and Destin Daniel Cretton, star and director, respectively, of 2013 festival favourite Short Term 12, re-team for the affecting, if less intense and occasionally meandering drama of The Glass Castle.

The whole endeavour ends up feeling fussy and clever rather than incisive and nuanced — especially when a late twist seriously jeopardises plausibility.

While there’s no doubting its huge ambitions, The Battleship Island turns out to be a disappointing misfire.

Idris Elba makes for a dashing, haunted gunslinger assigned to safeguard the universe, but whether it’s Matthew McConaughey’s hammy turn as an all-powerful villain or the generic effects work, The Dark Tower proves to be a movie filled with faint ambitions and an even weaker pulse.

To be sure, Kidnap is unadulterated B-movie nonsense, but when it’s delivered with this level of trashy gusto, the pleasures are plentiful.

In the gripping, inspiring — and, ultimately, dispiriting — documentary The Force, a troubled police force tries to redeem itself, only to learn how nearly impossible the task may be.

Ultimately the visual polish and subplots merely serve as fleeting distractions from the weary familiarity of this two-fisted tale.

The third act of this film is a celebration of Simon’s determination and of supporting team which surround him.