JC Chandor’s period crime drama is rigorous, resourceful and as smart as a whip...But its canny tactical struggle remains a joy to behold.

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

Red Army is executive produced by Werner Herzog and Polsky borrows some his impishness. He makes sport of the old guard's rebuffs, glories in the occasion when Fetisov gives him the finger. This, he seems to say, is the attitude that made these guys.

It is a dizzying, headspinning film, replete with violence, alienation and tech-porn. I confess I find it too opaque to make the kind of investment that would qualify me as a real fan. But it should be seen.

Filmed with a luminous brilliance by cinematographer Freddie Francis, The Innocents is the apotheosis of old-school Brit spookiness.

When all hell breaks loose, Berg stages the action horribly well, capturing the panic and gruesome mayhem without the film ever feeling exploitative. It’s spectacularly constructed, yet it doesn’t forget about the loss of life, ensuring that, despite thin characterisation, the impact is felt.

The heart of the movie is the unexpectedly poignant relationship between Xavier and Logan: I’d be tempted to call them the Steptoe and Son of the mutant world, although in fact Logan goes into Basil Fawlty mode at one stage with his own pickup truck, attempting to trash it – perhaps to teach it a lesson. Logan is a forthright, muscular movie which preserves the X-Men’s strange, exotic idealism.

As a mystery, Trash is compelling enough though its milieu and the outstanding performances at the centre of the movie are what set it apart.

It's a fascinating story.

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

Zero Motivation is a shot of honesty, in which short-term goals are far more important than larger geo-political ones. Perhaps because they are the only ones over which we have any control.

The intriguing thing about Black Panther is that it doesn’t look like a superhero film – more a wide-eyed fantasy romance: exciting, subversive and funny.

Somehow in its pure uproariousness, it works. It’s just a supremely watchable film, utterly confident in its self-created malleable mythology. And confident also in the note of apocalyptic darkness.

What’s terrific about The Duff is that Casey and Jessica may not have intentionally befriended the less attractive Bianca as a way to make themselves look better, but they don’t exactly deny that she serves that purpose.

About Elly confirms Farhadi's shrewd judgment of pace, dramatic technique and formal control of an ensemble cast.

Folky music and Studio Ghibli-level flights of eerie fancy are obvious pleasures, but even more subtle and entrancing is the way Moore and his team use echoed shapes to suggest hidden patterns in nature and parallels between the real and the mythical.

The Aardman vision of contemporary England is generous, inclusive and - if a fast-moving film about a smart-alec sheep can allow itself such grandiose ambitions – genuinely inspiring.

A terrifically enjoyable piece of old-fashioned storytelling and a beautiful-looking film: spectacular, exciting, funny and fun.

The co-operation between Wenders and Salgado Jr works well, mixing the former's heavyweight presence as both interviewer and storyteller, and the latter's ability to harvest intimate, deep-buried subtleties that may otherwise not have seen the light of day. Together they have made a moving tribute to a peerless talent.

It’s an engrossing, forthright adventure.

Slightly overlong and convoluted at times, it presents compelling, sexy characters spouting sharp, believable dialogue.

The message is laid on slow and thick, but it's no less powerful for it.

What The End of the Tour tries to sell, and sells well, is that Wallace’s big heart was just not made for these times.

This movie may be too slow and verbose to be the next breakout horror hit, but its focus on themes over plot is what elevates it to something near greatness.

When Abbot and Nixon start their sparring, Mond’s film takes on a magnificently physical and tactile quality.

Though hats are respectfully doffed, this is a four-woman show, deftly managed to allow all the leads – McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones – a chance to showcase their own distinct brands of comedy.

High-school students have plenty of growing pains to offload, and Gomez-Rejon clearly knows what makes them tick. His film is at once buzzy, fun and confronting.

Writer-director team Anna Boden and Ryan Fleck (It’s Kind of A Funny Story, Half Nelson) must be applauded for refusing to let their shaggy dog tale line up with any predictable storyline.