There are no prizes for guessing what happens, but it’s a smart scary movie that relies on atmosphere and characterisation – not just jump-scares – for its effect.

It’s somewhat heavy material for a film aimed at children, but perhaps very necessary in an age where a beer-stained uncle might have ruined Thanksgiving wearing a Make America Great Again baseball cap.

Although many of the stories told here are deeply harrowing and the film sometimes seems to be trying to bite off too much, at least there’s a happy ending of sorts.

Ficara and Requa have an irreverent streak, one that even might strike some as a little flippant against the gravity of the war.

The restrained performances and luscious location photography are enough to make this a film worth exploring, though it might not be a bad idea to down a few caffeine-rich drinks before settling in to watch.

There is some surreal fun at the beginning as everything collapses.... But then it’s the same thing over again.

Crouching Tiger, Hidden Dragon: Sword of Destiny isn’t so much a continuation as a Xerox copy with cheap toner.

The film has an impeccable technical finish, but it is insipid, contrived, solemn, and ever so slightly preposterous.

It is Davies’ ability to invest even the most apparently-humdrum moments with some form of intense radiance that sustains his film.

Emma Thompson gives us a scene-stealing performance which is enjoyably macabre.

Richness, warmth and tenderness pulse from this lovely documentary.

Grimsby has the occasional laugh and a succession of finely wrought grossout spectaculars which are reasonably entertaining.... But with its cod-Bond and mock-action material it carries a weird overall feel, like kids’ TV but produced on a lavish scale with added filth.

It’s a bit derivative, with borrowings from a handful of other films, but there are some nasty moments.

The story is clotted and overloaded, lacking the necessary clean tautness and suspense. And Kate Winslet's turn as a hatchet-faced Russian mob matriarch is a bit on the ridiculous side.

This live-action cartoon finds Stephen Chow (Shaolin Soccer) elevating a Disneyish set-up – ruthless developer is mollified by the mermaid inhabiting the lagoon he’s plundering – with more of his usual good-to-inspired sight gags.

Ciro Guerra’s gorgeous picture just has that ripped-from-your-dreams sensibility, where surprising turns float alongside a story you feel like you’ve known your whole life. Embrace of the Serpent is the type of film we’re always searching for, yet seems so obvious once we’ve found it.

Mixing droll animation, stock footage and a restrained number of talking head interviews, the director Penny Lane’s biography has all the whimsy of a tall tale, until a late change in tone surprises with genuine emotion. Nuts! is really a kick.

Buttons will definitely be pushed by White Girl, but after the moral panic hopefully people will still be talking about the film itself.

All good stuff from Depp, although by sending up Trump’s 1980s period, it feels a little off the money, and this is a figure who has already somehow absorbed derision into his skin and made himself immune to it.

Things to Come is a smart, earnest undertaking: an exploration of the insecurity that can hit any of us, at any age, when we start to question the life we’ve built.

There’s an absence of fun here, and for what is ultimately a chase movie, a severe lack of pace. Nichols doesn’t feel like a strong match for the genre or for the very specific type of fantasy movie he wants to make.

In addition to its ability to take this odd premise and run with it, Nina Forever scores by being tremendously erotic. Granted, what’s sexy varies from taste to taste, but the exuberance in passion exhibited by young Abigail Hardingham is refreshing in a landscape of independent films that too frequently play nudity for a cheap laugh or just to tick a box off a potential distributor’s list of requirements.

There are always some laughs to be had here, and Ben Stiller’s couture legend now has an endearingly muppety look.

Like the emotional equivalent of a massage with a sandpaper loofah, the film leaves you feeling raw and tender, thanks particularly to the knockout performances from the small cast, especially Collette.

Deadpool is neurotic and needy – and very entertaining. An innocent pleasure.

Perhaps no film can entirely compete with the simple fact of this novel/museum’s existence, but the movie circles around the dual conceptual artefact beguilingly.

Hail, Caesar! is a lot of fun, and beautifully crafted, too. One to savour.

It’s coarse and it’s stupid, but it is, thanks mostly the two good performances and some stylish use of music and editing, a little bit moving.