Underneath Vol. 2’s sarcastic exterior, Gunn’s script has a big, bleeding heart, pinpointing the characters’ insecurities and emotional scars.

Tramps is a good-natured little film.

It’s all glossily camped-up nonsense with an amusingly inappropriate title, but luridly – and ludicrously – entertaining nonetheless.

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.

Expertly paced, Glory builds to a cleverly staged off-camera climax that perfectly caps everything that has gone before.

Essentially a feature-length version of the cute animal videos that proliferate on social media, Born In China is a feast for the eyes while also being an irritant for the ears.

The problem with City Of Tiny Lights is a plot that is all too easy to second guess and stretches of dialogue which fail to sparkle.

In what is only fitting for a story literally and figuratively embroidered around hearts, the film’s visual and emotional beats are perfectly in synch.

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

Editing is clearly complex given the variable footage, but each emergency call and every character is successfully individualised and identifiable, and several arcs snap into the overall narrative drive.

All credit to Dan Stevens for rendering so vividly a selfish, abrasive character.

While enjoyable in parts, its episodic pacing lets down the real-life story of a bold and remarkable woman.

Though perhaps low on insights, this is an evocative portrait of a brief, intense window of hedonism, self discovery and Olympic levels of self-indulgence experienced by young people on the cusp of adulthood.

A lazy heist comedy that asks little of its appealing leads, Going In Style goes down smoothly even if the only thing that really gets stolen is the audience’s time.

It’s certainly a striking location for a story: a blinding white sun-baked blank slate on which anything can be written. It’s just a little unfortunate that the story Herzog chooses to tell is so frustratingly enigmatic and unformed.

Lacking the visual flair of 127 Hours or the satisfying resilience of Robert Redford’s character in All Is Lost, the film leans heavily on Armie Hammer’s performance. And while he is a charismatic leading actor, he is not given enough to work with here to sustain the picture.

While Schwarzenegger is solid – almost literally, his face like granite and his movements stiff – and McNairy is completely committed in this tragic two-hander, Lester’s film is resolutely one-note.

A genuine, likeable, loose-limbed buddy dramedy about impending death.

A heartfelt performance from Chris Evans as the conscientious caretaker of his brilliant niece isn’t ample compensation for a film lacking the same intelligence and inquisitiveness that its young protagonist possesses in abundance.

It might be with a child’s eyes that Summer 1993 relates the efforts of a six year-old trying to cope with grief, but it is with maturity, empathy and heartfelt emotion that it conveys the uncertain reality that follows.

It is the attention to detail and the refusal to compromise that allows Serra to create such a compelling, coherent vision.

Even though there’s an enormous amount to look at and digest, little of this film is truly memorable or thought-provoking.

It is, however, creepy, suspenseful and nerve-wracking - and marks Gillespie and Kostanski as genre auteurs in the making.

Jon Nguyen’s carefully-calibrated ode to Lynch is in itself Lynchian, an essential picture for the director’s legion of fans.

All This Panic has a refreshingly light touch. These girls can make heavy weather of routine situations yet shoulder enormous responsibilities with grace and good humour.

It may be modest in scale but the film is assured in both intention and execution, building successfully towards a quietly moving climax.

I, Olga Hepnarova struggles with its difficult central character, always spiky and occasionally psychotic but never really as intriguing as the filmmakers clearly believe.

A grab bag of vulgarities, sex jokes, slapstick, nudity and chase scenes, the action-comedy CHIPS holds together better than expected, thanks largely to the goofy, dim-bulb rapport between stars Dax Shepard and Michael Peña.