Ultimately, the film makes a case that perhaps it’s better not to know everything about the person you love. And sometimes you just need to shed the baggage and start the relationship again from the beginning.

Jack Reacher: Never Go Back is always faintly diverting but never particularly engrossing, putting the venerable movie star through his paces without really asking much of him.

Keeping Up with the Joneses may have twice the talent of other outings in the spy-couple sub-genre...but its laugh quotient is pretty low. And that’s a real problem for a romantic action comedy that’s always going more for humour, with a touch of sweet-natured romance, than thrills.

When the film shifts into territory less Hitchcockian than Lynchian – with a touch of Park Chan-wook’s Asian Gothic – the quiet confidence of Kurosawa’s approach has paid off, allowing him to vault into this more intense register. It’s not all just ghoulish fun, though: there’s a serious subtext here involving everyday evil.

Origin of Evil doesn’t stretch the conventions of teen-appeal spookiness too far, but is solidly put together, mounted with a pleasant conviction and runs to several fine performances and some decent scares.

It’s a radiant debut for young newcomer Joe Alwyn, who plays a Texan war hero uneasy in his own land. It’s a shakier curtain-raising for Lee’s ambitious weaponising of new technologies.

Lost City is the acme of a 21st century prestige picture. Sadly, however, it is one that is also deeply flawed. Gray’s most ambitious movie yet is marred by a story arc that fails to rise or reach a climax, unnatural-sounding expository dialogue, and an unforgivable lack of thrills.

For the most part, this is a beautifully judged picture from a director to note.

The latest from director Gavin O’Connor (Warrior) is part character study and part airport-novel nonsense, and the film’s utter chutzpah gives the proceedings an agreeable kick. But The Accountant can’t balance its B-movie instincts with its more artistic aspirations, ultimately hamstringing a potentially juicy, escapist shoot-‘em-up.

Koepp has managed a brisk adaptation, although some of the dialogue can feel very forced, particularly when it comes to the clue-solving set-ups. Still, Howard keeps the viewer constantly occupied, Felicity Jones is an engaging sidekick, and there’s clearly a lot more mileage left for Tom Hanks in this franchise’s tank.

There’s more texture than might be expected from characters based on plastic dolls.

Although a touch too precious and slight, 20th Century Women is lit from within by its endless curiosity about its evolving characters.

Rather than bring anything new to the genre, director Ben Younger settles for adding a distinctive bracing energy to the somewhat timeworn tropes.

Flying off the rails at an alarming speed, The Girl On The Train fails as a compelling character study, struggles to satisfy as a psychological thriller and ultimately settles as an overheated potboiler that doesn’t have the courage to go full camp.

The film’s look is as striking as Fan’s performance.

There’s enough cinema in Among the Believers to set it a step above solid respectable investigation.

Like Cai, the doc is a crowd-pleaser which reveals its complexities in a careful viewing.

For a movie that’s meant to have some magic in it, Peculiar Children displays little buoyancy, the proceedings weighed down by tedious world-building and perfunctory thematic lip-service about the need for community and the power that comes from finding one’s voice.

Despite the sense of fatalism and some clumsy turns in Zandvliet’s script, Land Of Mine achieves moments of chilling suspense.

Although Blue Jay is a warm, likable film, it doesn’t offer anything new to say about nostalgia, the passage of time or living with regret.

Dynamic storytelling and powerful performances bring out the pathos in an unusual tale of conflicting loyalties set on the criminal edges of a travelling community.

The documentary is very good at raising reasonable doubts, planting seeds of confusion and demanding a more sensible examination of the facts.

Even if The Untamed comes perilously close to sabotaging itself at times, this generic tightrope walk is a ferociously individual, highly intelligent piece and a superb, very affecting cast ensure that the human factor remains dominant, however creepily inhuman things may become at times.

A workmanlike and sometimes clumsy screenplay is not enough to extinguish the spark from this real-life fairytale romance, which delivers both a heartfelt emotional story and a grim lesson in 20th-century British foreign policy.

Director Lone Scherfig’s sentimental approach favours easy laughs and warm romance but the film starts to cut a little deeper in its closing stages.

It is an elegantly crafted, expertly acted old-fashioned weepie that manages to sell a whopper of a plot that would bring a blush to the cheeks of Nicholas Sparks.

Perhaps it’s simplistic to say that director Mira Nair has fashioned a good-looking but Disney-fied version of actual events, and yet the studio’s predictably uplifting-at-all-costs blandness slowly but methodically drains the material of its richness.

Terry George buries a worthy subject in a stuffy story of unrequited love and selfless heroism that gives off a strong scent of mustiness.