Lady Bird doesn’t exist as a twee indie movie construct, it feels thrillingly real and deeply personal, every single beat ringing true.

Sheridan is emerging as a master of the Mexican standoff, the shootout, the stomach-turning crime scene, the procedural office politics, but he’s also adept at tuning into the vulnerability and strength of the women and men called in to uphold the law. Wind River is a smart and very satisfying movie.

Nobody lands the one knockout punchline to elevate matters above tolerable mediocrity.

There’s a reasonable premise to this horror-thriller, but also something straight-to-rental about the look and feel of the whole thing.

The dry, strictly observational shooting style means the doc stays in the moment and rarely ventures out of the room where the programme unfolds, adding immediacy.

Those familiar with McDonagh’s work will be unsurprised to learn that Three Billboards is a bold and showboating affair, robustly drawn and richly written; a violent carnival of small-town American life. Yet it has a big, beating heart, even a rough-edged compassion for its brawling inhabitants.

This is an urgent, deep soak in the current refugee crisis.

It’s an entertainingly bizarre, lurid nightmare with a playfully literary flavour, very Ackroydian, but with hints of Angela Carter and a bit of William Blake.

Though this telling has more than its share of well-worn story beats that Salinger’s hero Holden Caulfield might accuse of being phoney, there are enough occasional insights into the creative process, as well as juicy tidbits about the secretive Salinger, to make this a very agreeable, if at times shallow, watch.

The problem is that almost everything here looks like route one scary-movie stuff that we have seen before: scary clowns, scary old houses, scary bathrooms. In their differing ways, Brian De Palma and Stanley Kubrick were inspired by the potency of King’s source material to create something virulently distinctive and original. This film’s director, Andy Muschietti, can’t manage quite as much.

As horror it is ridiculous, as comedy it is startling and hilarious, and as a machine for freaking you out it is a thing of wonder.

Suburbicon is too lightweight and mannered; it lacks proper fury. Watching it is like having your trouser-leg savaged by an energetic small dog.

This exquisite, exemplary science documentary, directed by Irish editor turned helmer Emer Reynolds, recounts the rich and fascinating story of the Voyager mission, arguably Nasa’s finest, noblest contribution to scientific understanding.

There are, indeed, some sparks in this movie. The Vikander/DeHaan romance is a dud no matter how well it’s lit, but the “downstairs” passion between Grainger and O’Connell has a degree of realism and eroticism.

Yes, Del Toro’s latest flight of fancy sets out to liberally pastiche the postwar monster movie, doffing its cap to the incident at Roswell and all manner of related cold war paranoia. But it’s warmer and richer than the films that came before. Beneath that glossy, scaly surface is a beating heart.

A less polished director might have become lost and confused along the film’s lengthy running-time. But Payne’s handling is perfect. He never puts a foot wrong, rustling up a picture that is as bright as a button and as sharp as a tack.

It would be too simplistic to call it brave. Ford excels, and shows us why we should be angry at America’s indifference to dead black men. The documentary won’t bring William Ford back, and it may give Yance Ford some catharsis, but more importantly it could and should lead to greater justice and empowerment.

An Inconvenient Sequel is more a portrait of Gore than a call to arms. It ends with a sort of forced positivity, much of which is recycled directly from the first movie: political change is hard, but we can do it, morality demands it.

For an action-comedy, its timing is lousy.

It’s an earnest rather then energetic retelling but Stanfield’s stare is indelible.

This is anaemic stuff, though perhaps its target audience won’t care.

It starts feeling fairly mechanised itself, every clank of those boysy Transformer knock-offs further drowning out its wistful heroine.

This film is a very sly, subversive and disturbing black tragicomedy about a universal secret addiction.

Occasionally too emblematic as individuals, the characters collectively mesh into a portrait of a dislocated society elevated by Sutton’s talent for disorienting imagery.

The beamingly ingenuous Cruise, whose character is not burdened with any doubts or an inner life, somehow sells it to you.

The elegance of Power’s approach belies the extremities of his blood-splotched, hard-nosed story. Which, as the film escalates conflicts and scampers towards closure, is more than grim – borderline misanthropic, perhaps.

Sadly the acting and dialogue needed a little work.

It’s all wonderfully preposterous, but also endearing and gratifying.