Galifianakis grounds the film with a guileless sensitivity and bursts of ingenuity beneath his character’s buffoonish nature. Wiig and Wilson struggle at times with the offbeat tone, but the stacked supporting cast pick up the slack. Kate McKinnon shines as Galifianakis’s dead-eyed fiancée with all the personality of fresh roadkill, and Jason Sudeikis’s pencil-moustached hitman and Leslie Jones’s FBI agent steal their scenes.

Very much a superhero film – "X-Men" as imagined by Edward Gorey. But it’s not populated with the sorts of characters we’ve come to expect – tormented anti-heroes or wisecrackin’ daredevils or noble demi-gods. Rather, it’s a film about a group of broken children, not off saving the world but being saved from the world.

Malin Buska – the Swedish Kirsten Dunst? – is highly watchable as the Descartes-loving ruler, but Canada’s Sarah Gadon as the sheet-warming lady-in-waiting is given little to do but look naive and dumbstruck.

Directed by veteran "Chariots of Fire" filmmaker Hugh Hudson, the semi-compelling Finding Altamira is let down by ordinary acting, way too many scholarly adages and a perplexing level of inaction.

This quirky dramedy promises little and delivers even less.

As the young hero at the centre of the tale, Guillory displays astonishing depth and heart. To summarize: Run, don’t walk.

The song playing sombrely over the tail credits is Afraid of Everyone, which is a hell of a way to die, but an even worse way to live. There is no cheer to Transpecos.

Pure blockbuster gloss – perfectly fine for a Saturday afternoon matinee, but instantly forgettable once you’ve emerged from the dark of a multiplex.

Every joke here hits its target, and while many of them will soar over the heads of youngsters, it will still send everyone home happy and satisfied.

The script is loose; the acting is natural and nuanced. Over the credits plays an acoustic song about lives in the how-did-we-get-here stage. If you do not leave this Netflix movie asking questions about your own paths, the failing is yours, not Duplass’s.

A thrill ride that’s as terrifying as it is no-nonsense.

So despite the conventionalism of the film’s final minutes, I’d like to raise a glass of Chardonnay and toast Bridget Jones’s Baby on its (mostly) hilarious, and long-anticipated, homecoming.

It’s dreadfully boring to anyone over the age of 4, but at least it isn’t trying to sell kids anything. I guess that’s a plus.

Thrilling when we’re on and around the plane (seeing that giant CGI bird splash down, especially on an Imax screen, makes you realize how improbable the whole enterprise was) and too often thudding when we’re not.

Though Zoom skillfully weaves together animation and live action, I was not stoned when I watched it, and I’m not a fan of plot-plot-plot. So it left me meh.

The result is an intriguing but uneven thriller that doesn’t fully establish the tone and style that would be needed for an audience to accept its supernatural plot.

This isn’t to say Scott doesn’t occassionally rely on classic scary-movie thrills – but, mostly, it concentrates on developing its intriguing narrative and believable characters.

What the protagonists do is simply wrong, and their attempts to fix it are first tepid, then unpleasant.

Dujardin and Efira are both charming and beautiful, and the film glistens in its breezy cobblestoned scenery.

A simple film only designed to charm.

A cheeky black comedy and worthy Norwegian successor to "Kill Bill."

A home invasion story that is as artfully terrifying as "Home Alone" was entertainingly hilarious.

Brody plays opposite Yvonne Strahovski, whose femme fatale is less like Lauren Bacall and more like Sharon Stone. Unfortunately, Strahovski’s flat portrayal lacks the basic instincts of Stone, though she does uncross her legs, and that is central to the curve-balling, sex-tape plot.

Unfortunately, the actual confrontations this project must have caused happen off camera, but the story of a determined quest is always enlivened by insights into the clawing animals, bizarre monsters and sinful humans that populate Bosch’s fantastical visions.

Bathed in dusty hues and rain-forest greens, Ixcanul is gorgeously shot and skillfully frames Maria’s curbed sexuality (look to a scene where she waits for her younger crush in the evening shadows).

Gripping and thrilling, Nanfu Wang’s debut documentary is a raw look at women’s-rights activism in China.

The Israeli author’s melancholy work might on the surface be an odd choice for Portman, but as writer, director and star, she takes to it with a fierce sense of devotion and even protection, creating a Hebrew-language drama about the tight, complex bond between a mother (Portman) and her son (Amir Tessler).

Don’t Blink is a friendly film by a friend – honest and historically aware, but almost unfailingly affectionate and attuned to the “spontaneous intuition” that, 92 years after his birth, still seems the governing principle of Frank’s life.