It’s a bit silly maybe, with a plot that requires you to overlook the implausibility of a certain smartphone with no passcode protection. But there is a nifty premise.

We leave the documentary loving the films rather than the film-maker.

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

Special Correspondents shows that Gervais has a plausible Hollywood career, but there’s a baffling lack of real laughs and performance chemistry between the leads, and very little of the acid characterisation and cynical discomfort which is vital to his screen presence.

It’s a huge aspartame rush of a film: a giant irresistible snack, not nutritious, but very tasty.

Tom Tykwer’s adaptation is a meandering mess of half-baked storylines that amount to little. Hanks’s affable presence keeps it all afloat.

When you have two of today’s best working actors acting on a high-wire to do justice to two of the most recognisable figures of the 20th century, it’s best to keep the focus solely located on them.

It’s an engaging and garrulous film, and Hockney is now a cheerful, grandfatherly figure, and an object lesson in taking the boy out of Bradford, and not the other way around.

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

A gentle and charming entertainment.

Barbershop: The Next Cut is hardly subtle, but it is more nuanced than you might expect.

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

While some viewers may complain that the action is too heavily weighted toward the ending, I’d argue that this is a strong example of destination-not-the-journey film-making.

Many of The Boss’s troubles stem from its constant, unpredictable shifts in tone.

There’s something inherently fishy about a movie that claims our facts are drawn from an inefficient data set which then turns around and uses the same methodology.

It really is a nuclear war of dullness.

Meet the Blacks is an asinine film (though with a kernel of seriousness) but whenever it feels like it is running out of steam, something strange and surreal will happen to elevate it above a typical spoof movie.

God’s Not Dead 2 is a much better movie than God’s Not Dead, but that’s a bit like saying a glass of milk left on the table hasn’t curdled and is merely sour.

This is a visually sumptuous kids’ film that will also charm adults.

It is a high-minded, often touching movie which replaces the nihilism and miserabilism often to be found in social realism, and replaces them with a positive vision of what the state can – and can’t – do to help.

It’s a film of remarkable idiocy, most notably in the portrayal of the local police who are so incredibly unhelpful that it borders on parody.

This movie doesn’t really follow through with its own ideas, either in the natural realm of the ageing couple’s relationship or the supernatural arena of an eerily possible apparition.

It forces viewers to take long looks at his most controversial imagery, proving that he still has the power to provoke, seduce and enrage.

It’s tough to take all the hardcore emoting seriously, particularly as the emotional heavy lifting is designed to be done by the occasional maudlin line in brief pauses between the explosions. For a film so concerned with its characters’ inner lives, there’s a fundamental disconnect going on here – enough to make you yearn for the lighter touch of the Marvel films.

The film plays like nirvana for Pee-wee fans.

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.

The first act of the film wins some laughs on surrealist shock humour, but at the expense of ever accepting this character and her world as real.

It is a bravura debut from a young film-maker, proving that one can still make a movie for no money at a family member’s house and come away with a work of art, not just a calling card.