The film still stands as an imposing monument to the memory of a great artist.

Abacus: Small Enough To Jail isn’t as grand or engrossing a treatise as Hoop Dreams or The Interrupters, but in its intimate, well-observed way, the film is deeply moving and subtly shaming.

A luminous, heartbreaking performance from Olivia Cooke shines through every frame of Katie Says Goodbye.

Co-writers Julian Barratt and Simon Farnaby fly the flag for a rare original idea with the goofy, genial, fitfully inspired Mindhorn.

It is pleasant to watch, needs a much stronger structure to hold it together.

Italian artist Yuri Ancarani’s mostly-silent travelogue captures the Arabian peninsula without comment, its repetitive, dreamy imagery providing an insight to an age-old sport which plays out within the trappings of extreme wealth.

Often amusing but rarely shifting into a higher comedic gear, Snatched features fun chemistry between co-stars Amy Schumer and Goldie Hawn, some delightfully goofy moments of stray hilarity, yet not enough story or heart to keep this thin tale afloat.

Commercial considerations strangle the vitality from the movie, but Ritchie does his best to bring a bit of impish wit to the proceedings.

It’s a long, flat, no-frills journey which struggles to engage despite its many bloody shocks.

An effective, albeit somewhat artificial, exercise in suspense, The Wall derives much of its propulsion from Aaron Taylor-Johnson’s grunting, grimacing performance as a wounded US soldier squaring off with an unseen Iraqi sniper.

Judith Chemla is a perfect choice for the lead.

The film’s freewheeling energy is as appealing as its developments are unpredictable.

In its style as well as its psychological focus, Hounds of Love marks Young as a filmmaker to watch, though he’s not the feature’s only standout. His trio of leads has rarely been better.

The broad brushstrokes storytelling and the director’s over-fondness for slow-motion sequences are among the film’s failings but this is still a rousing, easily accessible epic.

A gentle, unassuming picture, it does have a satisfying, feelgood trajectory and empathetic central performance from Marie Leuenberger.

Whitney Can I Be Me delivers yet another tragic lesson in the toxic mix of fame and talent and children: it should be required viewing for all those who seek to follow this diva’s path to fame and fortune.

Ice Mother handles the lives of its older protagonists with sensitivity and admirable candour.

There is no shortage of drama to feed House Of Z.

Everyone loves a conspiracy—which is one of the reasons that A Gray State, a tantalising and fascinating real-life story, makes for compelling viewing. But it’s also supremely timely.

This incendiary true story boasts a charismatic central performance from rising star Peters (X-Men, TV’s American Horror Story), whose everyman charm helps drive a narrative which has a tendency to get entangled in its own worthy intentions.

Brian Shoaf does not break any new ground in Aardvark (besides featuring an actual aardvark in an independent film), yet his pairing of stalwart female characters with troubled men is a welcome twist of gender stereotypes.

The Lovers is shrewd, even if it’s not altogether satisfying.

Pointedly recounting the history of the LGBT movement in New York, director David France shines a light on how, even within that community, transgender people have been treated like second-class citizens.

No one says too much in this film’s underdeveloped dialogue, yet Ryan’s steely demeanor reflects the jumbled toughness and vulnerability of people dependant on land that isn’t giving them much.

We’re lucky that moralists like Ponsoldt and Eggers have a sense of humor.

Starting off as a strained farce before segueing into a sappy family film, How To Be A Latin Lover has its likeable, goofy moments, although it is consistently undercut by a main character who is very difficult to love.

Walk With Me is a slip of a film, at turns worthy and profound, yet also soporific and uneventful, an occupational hazard of spending three years embedded in a Zen community, no doubt.

Preposterous, nonsensical, but fun nonetheless, Unbroken frustrates as much as it entertains.