It’s an anticlimactic oddity of a film, and a slightly wasted opportunity – but with curiosity value.

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.

There aren’t really any surprises in The Other Side of Hope; it’s more like witnessing the ongoing cultivation of a humane philosophy. But the film is devilishly funny, economically constructed (the demise of Wikström’s marriage is shown in wordless images) and decked out in the director’s dismal palette of cobalt blue, moss green and burnt-marmalade orange.

It’s a highly entertaining portrait of the two men, and Tucci’s own directorial brush strokes are bold and invigorating.]

It may be a timely film, but it is its timelessness, as well as its depths of compassion, that qualify it as a great one.

Franco deserves points for attempting something with idealism. But the execution falls flat.

This has been a regular payday for Beckinsale and she certainly gives it her all, but you have to wonder why she bothers, certainly now that we know what she can do with more interesting material.

A decently acted, heartfelt film.

The movie’s operatic claustrophobia makes its mark. Cult status beckons.

Deeply strange and politically incorrect, ­baffling, and often funny.

It doesn’t have the heart, the depth or the novelty of the first Lego movie, but it is relentlessly, consistently funny – which excuses everything.

This offshoot is essentially a well-produced, easily accessed B-movie. Still, it wouldn’t kill you to watch it, and it does more than expected to reinvent its particular wheel.

As must be obvious to real connoisseurs, I am hardly a natural consumer fit with this franchise. It may well play with fans, but will in all probability make no converts.

Keough and Malone convey a palpable sense of yearning for one another during these sequences, but Kim and Bradley Rust Gray’s barebones script doesn’t match their efforts.

You can’t let your heroes be truly, purely horrible. But McDonagh’s moral twist comes in way too late and much too hard. It leaves you dizzy.

Surely there is a good movie to be made about caring polyamorous relationships, but as with any romantic story the audience needs to fall in love with the idea of these characters being in love.

This debut feature from Yorkshire-born actor and first-time director Francis Lee is tough, sensual, unsentimental, with excellent lead performances from Josh O’Connor and Alec Secareanu.

The film is about more than simply personal loss and Heineman’s admiration of journalist activists. It’s a guide to the media war being fought between Isis’s video team and RBSS.

This isn’t really a film in search of a definitive truth – it’s a deliberate provocation to the conventional notion of truth in the age of media frenzies over salacious crime.

What’s key is that even though this is a movie about a scoundrel, it’s all very optimistic. Forbes and Wolodarsky keep the frame bright and the filmmaking calls attention to itself only when necessary.

Yellow Birds goes heavy on the brooding, and even though a lot of it looks gorgeous and carries the whiff of great importance it is ultimately stunted by a central event that isn’t worth the mystery that surrounds it.

Beach Rats is a captivating character study and one that feels vital.

Directors and activists Sabaah Folayan and Damon Davis’s outstanding and incendiary documentary about Ferguson does a tremendous end run around mainstream news outlets and the agenda-driven narratives that emerge, particularly on television.

For me the superpower idea can only work with humour and lightness of touch: and there is a persistent and disconcerting joylessness about this.

As things go bad for Wilson, the movie, unfortunately, loses a considerable amount of steam as well.

A hundred well-placed plot breadcrumbs lead us to our perfect ending, but apart from scriptwriting craft Rees gets in some bravura scenes of high tension.

Call Me By Your Name is a masterful work because of the specificity of its details.

Harrelson is an affectionate director, finding memorable bits for performers all across the cast list, and his writing is peppered with arresting phrases.