All the lavish sets and gorgeous costumes in the world – and they are here – can’t quite cover over the cracks in Friedkin’s canvas, constructed by three writers from a non-fiction book.

There’s a nicely intimate side to Ducornau’s urge to dig beneath the flesh here, a ‘soft body horror’ simulacrum of the hormonal changes this adolescent girl is going through.

Director Baltasar Kormákur makes good use of location filming on the open waters, giving this melodramatic tale a dose of realism, but this true story is never as harrowing as the subject matter would suggest. Blame it on a misjudged narrative device and Adrift’s generally adolescent approach to relationships and maritime emergencies.

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

An ambitious, thematically overstuffed drama that’s both a crackling action-thriller and a ponderous political commentary.

Looking and sounding disarmingly like father Tim, Roth imbues Danny with an edgy vim and vigour - reminiscent of his father’s early performances for Quentin Tarantino - and palpable vulnerability which draws sympathy for his righteous anger, however misjudged it may be.

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.

Gitai’s personal knowledge of his people and their deep-rooted issues lends West Of The Jordan River a powerful intimacy.

Whether it’s Jim Carrey playing not one but two supervillains, or the introduction of even more supporting characters, Sonic 3 wears out its welcome, resulting in an entertaining but exhausting affair.

Though sometimes disappointingly broad, Radioactive nonetheless possesses a thoughtfulness that gives the film its stubborn spark.

There is certainly much to admire about this ambitious homegrown sci-fi saga, even if it feels rather protracted with the running time clocking in 45 minutes longer than its predecessor.

The film’s general comic tone makes its darker moments stand out.

Neither director Stephen Hopkins nor star Stephan James can bring Owens’ story to passionate life, resulting in a drama that’s well-meaning rather than riveting.

A film of considerable visual poetry and, at times, grandeur, Our Time is unmistakably the work of the ambitious, visionary director behind Battle In Heaven and Stellet Licht, but as a Bergmanesque drama of emotional anguish, the solemn, militantly downbeat Our Time often makes oppressive viewing and at times struggles to justify its nearly three-hour length.

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..

Marielle Heller’s fourth feature is a gently observant comedy-drama about the perils of motherhood that could use a little more bite.

Hugh Jackman demonstrates again what a fine Wolverine he is but this comic-book pairing ultimately underwhelms, resulting in some touching moments and some anarchic humour in a picture otherwise dragged down by convoluted multiverse logistics and drab fan service.

A screenplay dense with incident and ideological discussion is carried efficiently by fast-moving, sleek direction and sumptuous mise en scene that catches the tone of a changing society and its sudden explosion of capitalist excess. Yet it never quite comes to life as a character sketch.

This likeable, emotionally precise film has a big heart and a genre-shifting construction that keeps the proceedings from feeling like just another young-adult meander. But despite an agreeably earnest performance from rising star Nat Wolff, Paper Towns covers familiar coming-of-age terrain and suffers from an opaque turn by newcomer Cara Delevingne that’s not quite as captivating as the story requires.

Antibirth is intentionally ramshackle and hallucinatory as storytelling, seen through the viewpoint of characters who are mostly too stoned to concentrate – but it’s also highly crafted and unsettling.

The action in Cold War 2 - again overseen by Chin Ka Lok - is far superior to its predecessor.

The spectacle gives you enough action from enough famous names to sustain the momentum of its legacy.

It’s the empathy Syversen and her lead actress evoke for a free spirit battered into submission that is this tough little film’s greatest achievement.

Some adorable animals and a snarky sense of humour about superheroes aren’t quite enough to save the day with DC League Of Super-Pets, an intermittently amusing and touching animation.

Drive-Away Dolls is frantic rather than inspired, a caper with no sense of the truly madcap.

In all fairness, the film is hard to enjoy, not least because its handful of intriguing ideas are so self-indulgently gussied up with ostentatious visual execution.

Whether quietly watching Nanami gain her sense of self scene-by-scene, or plunging into more dramatic territory whenever Amuro or Mashiro appear, the end result slowly builds, grows and blossoms into an astute, insightful, multi-layered character study.

The resulting film is both warm and reticent at the same time, so keen to cleave to reality that it shuns dramatic fireworks – particularly in its gentle, muted ending.