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.

This deafening fantasia of internal and external combustion delivers outrageous action spectacle magnificently divorced from the rules of narrative or gravity. . . . I think we can include Isaac Newton among the people who are getting their asses kicked here.

The Light Between Oceans isn’t subtle – that swoony title should tip you off – and it’s a fair way from the realist grit of the less obviously commercial pictures Cianfrance has made previously. There’s more corn in the recipe here, a bit more ham and cheese. But he carries it off with forthright defiance and with strong, heartfelt, ingenuous performances from Alicia Vikander and Michael Fassbender.

Richness, warmth and tenderness pulse from this lovely documentary.

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.

The anarchic spirit of agitprop pulses from this scrappy, smart, subversive film.

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

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.

Given the nudity on show, some are already quick to criticise Park’s direction as gratuitous and to claim that his male gaze is affecting the depiction of lesbian romance. But the impotency of the male characters helps to counter this while the sex scenes themselves, as lovingly shot as they might be, feel vital to the narrative.

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

This is a thoroughly engrossing and densely textured drama, showing Farhadi's cool skill in dissecting the Iranian middle classes and the unhappiness of marriage.

There’s little doubt who the hero of Peter Berg’s retelling of the 2013 Boston marathon bombings is: the city itself.

Most people will find Thru You Princess inspirational. A few will find it infuriating. But that’s frequently the case with a good documentary.

In addition to being a funny, invigorating and inspirational ode to being the cleverest kid in the room, it’s a remarkable testament to the suspension of disbelief.

Don’t Breathe is a master class in tension, and while its script could have been written on the back of an envelope, its editing and use of sound design is a triumph for film theorists.

What could have been mere summertime chum is actually one of the more cleverly constructed B-movies in quite some time.

For what is, in essence, a by-numbers Disney sports flick, there’s endless freshness and vivacity to Mira Nair’s picture – her best in years.

It is an eccentric and entertaining movie soap-opera.

This feature is a very funny, if derivative panto-ish romp about the early life of Shakespeare.

You’ll shed a tear or two, possibly more.

As repellent a figure as many may still find Gibson, I have to report he’s absolutely hit Hacksaw Ridge out of the park.

The pleasure in watching this documentary is derived from its countless twists.

It’s a tight, slick polemic which doesn’t shy from the complexity surrounding the debate or the fact it wants you the viewer to get up and do something about it.

His fly on the wall approach never feels exploitative – in instances, it yields surprising empathy. In spite of his characters’ actions, Minervini miraculously captures traces of profound humanity.

It’s terrifically watchable, a high-octane automobile of a film with dodgy steering, but exciting in a world of dull and prissy hybrids.

It’s a richly detailed character study, immersing the audience in the life and mind of its imperious main character.

The story is told with stark and fierce plainness: unadorned, unapologetic, even unevolved. Loach’s movie offends against the tacitly accepted rules of sophisticated good taste: subtlety, irony and indirection.

Ma Loute is a fascinatingly made film, theatrically extravagant and precise, although perhaps a little over-extended.