It’s an action-thriller with punch; Bridges gives the characterisation ballast and heft and Pine and Foster bring a new, grizzled maturity to their performances.

Neruda takes a lot of wild chances and, like the poet whose life acts as inspiration, it’s unwilling to play by the rules. Dizzily constructed and full of more life and meaning than most “real” biopics, it’s a risk worth taking.

As comeback projects go, Blood Father is stellar. It’s a wonder Quentin Tarantino, the king of career resurrection, didn’t get to Gibson first. The actors completely tears into the role of Link, a battered and disgruntled ex-con. Richet matches him, delivering a muscular and deliriously entertaining B-movie that is sure to play like gangbusters with genre aficionados.

If The Student lacks the searing moral exactness of the Russian literature on which it draws, it’s an often hypnotic warning against dogma’s eternal allure.

What is very impressive about Raw is that absolutely everything about it is disquieting, not just the obvious moments of revulsion: there is no let up in the ambient background buzz of fear.

The movie stunningly replicates that sense of inside and outside that must be felt by witnesses to any historic moment: the private debate, the enclosed conflict, and the theatre of confrontation unfolding beyond. What a dynamic piece of cinema.

It’s a real flight of fancy.

What we have here is an embedded report that sacrifices impartiality for access. But what access.

Maybe the final five minutes are a little too over the top, but the overwhelming impression is that Dounia has ambition and vision, a conviction that she might still be able shape her own future. It’s an exhilarating film.

It is a film of immense humanity and charm: the very best kind of date movie.

This sunny 1989 fantasy by master animator Hayao Miyazaki broaches the issue of female sexuality more boldly than any Western children’s movie would dare.

Zero Days is an intriguing, disturbing watch.

Cillian Murphy is excellent as the fiercely committed Josef Gabčík; Jamie Dornan does very well in the slightly more reticent role of his co-conspirator Jan Kubiš. An intelligent, tough, and gripping movie.

The President is a striking movie - and a bold and challenging change of directorial pace from Mohsen Makhmalbaf.

It’s a charming and engaging mix – the antithesis of Metallica’s ego overload, and just as watchable.

Like its distraught protagonist, Amber Tamblyn’s Paint It Black is unforgiving, flawed and ferocious.

What an enjoyable spectacle it is.

Arrival is a big, risky, showy movie which jumps up on its high-concept highwire and disdains a net. And yes, there are moments of silliness when it wobbles a little, but it provides you with spectacle and fervent romance.

It is a sombre and painful drama, enacted with reserve. There are no closeups, and it is fully one hour into the running time before we get even a medium shot of the female lead’s face. Even then there are shadows.

It is a thoroughly absorbing and moving film, especially when Hull has a dream about recovering his sight and seeing his children. The tone is sober, unflashy, and Hull’s reflections on God are presented without any hectoring or special pleading. Affecting and profoundly intelligent.

[A] richly enjoyable documentary tribute.

It’s a proper animation buff’s piece of work, and admittedly a little slow to get its yarn ripping, but mesmerising and moving in the later stretches.

An intensely angry and persuasive piece of film-making, though maybe letting Bill and Hillary off the hook, a little bit.

Private Property’s vicious form of prurience may make some queasy, and is hardly the type of movie that could get made today without great backlash, but there’s definitely more going on here than mere time-capsule curiosity.

Split goes all-in on McAvoy slipping from persona to persona, and luckily he’s got the acting chops to sell it.

A toxic cloud of anger, suspicion and sadness hangs over this documentary.

The life of Orry-Kelly is a story that needed to be told, and Armstrong stocks up a lovingly rendered homage-cum-investigation with oodles of verve and panache.

Danny Boyle’s T2 Trainspotting is everything I could reasonably have hoped for - scary, funny, desperately sad, with many a bold visual flourish.