For me, King Jack relies too much on violence for its dramatic voltage, but it’s a well-acted movie with heart – and it doesn’t outstay its welcome.

Léa Seydoux, in all her haughty and sullen sexiness, dominates this well-crafted piece of suspenseful if curiously pointless hokum from French director Benoît Jacquot; it leads its audience up an elegantly tended garden path to nowhere in particular.

Caton is a perfect fit; he is touching, tender and a little bedraggled, emoting with a worn-out visage that looks like the 71-year-old has been marinated in beer and left in the sun to dry.

Q’s morality tale isn’t without laughs. The quizzers are adept at alluding to and meshing together the greats of English literature with crude dick jokes.

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

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

Despite an idiocy metastasized into the marrow of its script impervious to any radiation, there is, as with many of Sandler’s productions, at least something of an upbeat quality to its reprehensibility.

There are laughs found in almost every scene, though not many big ones. There’s also the problem that no amount of parody can top the real thing.

It’s soon clear that OOTS follows the model of Bay’s Transformers sequels. Longer, louder and boasting even more hardware, it does everything to generate the illusion of bleeding-edge bang-per-buck, while cribbing shamelessly from 1991’s Secret of the Ooze.

A deafening explosion of energy, gruesome violence and chaos.

Director Duncan Jones, a self-professed Warcraft fan, has clearly put a lot of love and care into fleshing out a story, but it’s questionable whether it was ever really merited. There’s a terminal flimsiness, as if this virtually-derived world hasn’t quite assumed three dimensions.

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

The Ones Below is an intimately disturbing nightmare of the upper middle classes, with tinges of melodrama and staginess, entirely appropriate for its air of suppressed psychosis.

Zero Days is an intriguing, disturbing watch.

Graduation is an intricate, deeply intelligent film, and a bleak picture of a state of national depression in Romania, where the 90s generation hoped they would have a chance to start again. There are superb performances from Titien and Dragus.

The film is utterly gripping and endlessly disturbing.

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

This is a ferociously well-made film right through to the bitter end.

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.

The Salesman is a well-crafted, valuable drama.

An incoherent, inconsequential picture which sometimes looks worryingly as if it is being made up as it goes along.

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

The proceedings are claustrophobic, intense and alienated – often brilliant, sometimes slightly redundant.

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

What a lovely film Paterson is.

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.

Nothing about the film comes close to authenticity and it’s largely down to Penn’s remarkably amateurish direction.

Ma’Rosa is made with control and clarity, a narrative purpose which is held on to despite an apparently aimless docu-style, and a clear sense of jeopardy. My reservation is that it doesn’t reveal much of what is going on in Rosa’s mind and heart.