The directorial debut of long-time screenwriter and producer James Schamus exudes a tasteful reserve, but actor Logan Lerman cuts through the seeming gentility in a performance that seethes with his character’s burgeoning arrogance and cynicism.

Warmly funny and deeply delightful, Hunt For The Wilderpeople is a tale of two misfits told with such generosity of spirit and consistent good humour that it’s a pleasant surprise to discover how sneakily touching it is as well.

Goat is a potent reminder that even traditional gender roles can be rife with angst, anxiety and devastating social pressures.

Sure, there’s a strong element of arch playfulness in the exercise, but that doesn’t make the end result any less tiresome. In Eisenstein In Guanajuato, Greenaway is good at making us look, but not at making us care.

The risk-averse approach to the remake extends to the humour. Pratfalls and benign double entendres (“I saw you slip her a sausage!”) rub shoulders with familiar gags and catchphrases which have been lifted wholesale from the original series.

Dark Night is a drama of grim inevitability.

Refreshingly, there is no clichéd love story or illicit thriller that emerges; Marston is pursuing ideas that are far more personal and philosophical, about the masquerade of identity and what it means to that identity when you make a significant change in your life.

The ending is haunting and affecting.

Like the family at its centre, Captain Fantastic is an odd bird, sometimes endearing, sometimes unbelievable.

A magnificent performance from Rebecca Hall is Christine’s clear highlight, but the entire ensemble shines in this stripped-down but deeply sympathetic drama.

Reichardt has crafted another deeply felt and beautifully ambiguous meditation on contemporary life in the far corners of the American heartland.

This may not be the most nuanced of films, but its blunt-force impact leaves one shaken.

Kenneth Lonergan’s deeply moving return after the travails of Margaret shows what a rare storyteller he is, measuring out his narrative beats in a world which crackles with life, guiding Casey Affleck’s magnificent performance, instantly recognisable as a career-be

A few sub-plots get lost...but this offers a satisfyingly large-scale demonic incursion as glimpsed from the streets.

Van Groeningen conveys kinetically the combined power of a ferocious beat, copious drugs, and sexual energy to endow revellers with transient communal utopianism.

The shock value of the dialogue – and it is staggeringly rude at times – is neutered by a rambling lack of narrative drive and, ultimately, a sentimental justification that feels disingenuous.

Slick production values and stylish directorial flourishes help make Detective Chinatown an effective and entertaining buddy cop comedy.

The climactic rescue sequence has tension and some thrills, but it’s over fairly quickly and the film settles back into a sentimental lull

Fitfully amusing and certainly heartfelt, this latest chapter in the likeable animated saga will work best with younger viewers, but its life lessons and emotional beats feel slathered on rather than deftly woven into the storyline.

While the sub-par effects make it difficult to become fully immersed in the tomb raiding exploits of the Mojin, the rivalries, romances and camaraderie between the central trio do hold water and help sustain the film’s forward momentum.

Intense battle action and rousing heroics just about make up for the dramatic shortcomings of 13 Hours: The Secret Soldiers of Benghazi.

little can be done to disguise the weakness of an undercooked script based on an idea Tornatore apparently had in his bottom drawer for decades.

Like many films designed to double as opening chapters in ongoing screen sagas, The Fifth Wave always feels padded, its focus on establishing a springboard for future sequels rather than satisfactorily exploring its own narrative.

With a script that’s about as inventive as the title, Ride Along 2 does little more than rehash the formula that two years ago teamed Ice Cube and Kevin Hart in an amiable if unambitious action comedy.

It’s authentic without being grim; moody and tentatively hopeful. There’s a British verite influence at play, but King Jack’s heart is positively American.

The going can be a bit slow at first, but the interweaving narratives, which comment on (and sometimes echo) each other, begin to develop a hypnotic grandeur. It’s a hell of a trip.

Although Sorrentino’s Fellini mash-up adds little of substance to what il maestro showed and said all those years ago, it’s still a remarkable cinematic experience.

Nicely acted – with an array of interesting, calculating female characters and clueless male ones – this relies too much on Satanic cliché, with tilted camera angles, wailing and buzzing music and odd lighting effects stirring up an atmosphere of dread which tips over too often into ridiculousness.