The film is nothing but a sensuous rush of snappy period costumes, elegant beauties, dapper men, kinetic action and so-so quips, and because Ritchie seems even less concerned with story than usual, that blinkered approach very nearly works.

A surprisingly demented delight; a crazy, spirited, if simplistic fusion of off-beat adult humour blended with the sensibility of an anarchic toddler.

This satire boasts plenty of ideas but is only occasionally compelling.

Essentially a four-handed chamber piece of sorts, this adaptation deals with powder-keg themes of the colonial psyche, racial tensions and retribution, but ultimately proves too stilted and stagey to pack much of a punch.

Ross and his two leads set the stage for a provocatively unsteady romance that’s initially entrancing, honouring all the uncertainty inherent in new love. But eventually, Frank & Lola succumbs to a series of progressively more implausible twists that run counter to the carefully constructed everyman that Shannon has essayed.

Connery extends the film’s appeal with enjoyable sequences depicting how the game was run back then – extravagantly be-whiskered golfers would push and shove their way around the course, casually moving balls while being followed by unruly, whisky-swilling crowds.

The comedic sparks and emotional stirrings simply aren’t as potent this time around, despite some colourful animation and an occasionally inspired silly streak.

This tenth instalment of Universal’s high-octane automotive action franchise puts its foot on the gas early on, and doesn’t hit the brake until the end credits — and, even then, leaves things open for at least one more spin of the wheel. That’s par for the course with these films, but what does come as a surprise is just how fun this well-trodden formula can be.

An unusual and often hauntingly strange film, Angelica is given life thanks to Jena Malone’s impressive performance, which juggles mounting hysteria with a gentle sense of passion.

Rather than lean into the increasingly gothic elements of this spiralling yarn (which reach a fever pitch worthy of Poe’s own work) the film takes itself far too seriously as a character study of a tortured man.

The film is unashamedly middle-brow and sentimental but it tells such a good story that it is hard to resist.

This Running Man could have been a powerful anarchist fable for our turbulent times but fun as it is, it runs out of steam before making any lasting impact.

The Yellow Birds is a war movie whose outlines may be familiar — but its emotional clarity gives this drama an almost crushing sense of intimacy.

The improvisational flair, unpredictable tonal shifts and overt emotional lurches that highlighted American Hustle and Silver Linings Playbook are here less consistently inspired and affecting, resulting in a heartfelt fairy tale that only soars in spurts.

Undemanding movie-goers may enjoy this oddly wholesome entertainment peppered with positive messages about generosity, overcoming adversity and hoping that your karma straightens itself out in this lifetime.

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.

While one can’t argue with the Oscar-winner’s commitment, there’s far more mannerisms than inspiration — a criticism that also applies to this self-indulgent, infrequently transfixing stoner comedy.

It’s just so hard to buy into Spaceman.

When it comes to the action scenes, Campbell’s unfussy style works well with Chan’s choreography.

An overly self-conscious somberness infuses the film, keeping this heartrending tale from being as poignant as it could be.

Gatta Cenerentola is on one level a noirish spin on a popular fable, but its real resonance derives from its stimulating contribution to a long-running dialogue...about the good creative and evil destructive demons that pull southern Italy’s largest city alternately towards hope and despair.

Writer-director Bogdan Mirica makes a very assured feature debut, juggling an accretion of sinister clues and slow-burn allegiances at a low-key pace kept humming thanks to attention-getting widescreen panache.

The plotting may sometimes be convoluted, but the picture rolls along so forcefully that its familiar genre trappings hardly hamper the proceedings.

This guerrilla approach, together with Dynevor’s committed performance, give Inheritance an adrenaline-fuelled agility that lifts it above the normal trappings of the genre.

Very effective in its flamboyant flourishes but dialled up so high it can feel excessively brooding and melodramatic, the film makes no apologies for depicting desire as an addictive drug, inviting the audience to succumb to the story’s narcotic pull

The result is a smirking, shallow action-comedy — a total mission failure.

A complex, steady, deeply intelligent film with a chilling resonance today.

The initially taut thriller takes an unexpected tonal shift into overwrought suspense, losing some of its claustrophobic domestic tension along the way.