In addition to its ability to take this odd premise and run with it, Nina Forever scores by being tremendously erotic. Granted, what’s sexy varies from taste to taste, but the exuberance in passion exhibited by young Abigail Hardingham is refreshing in a landscape of independent films that too frequently play nudity for a cheap laugh or just to tick a box off a potential distributor’s list of requirements.

There are always some laughs to be had here, and Ben Stiller’s couture legend now has an endearingly muppety look.

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.

Deadpool is neurotic and needy – and very entertaining. An innocent pleasure.

Perhaps no film can entirely compete with the simple fact of this novel/museum’s existence, but the movie circles around the dual conceptual artefact beguilingly.

Hail, Caesar! is a lot of fun, and beautifully crafted, too. One to savour.

It’s coarse and it’s stupid, but it is, thanks mostly the two good performances and some stylish use of music and editing, a little bit moving.

[A] lazy affair that aims for inspired lunacy but misses the mark by a mile.

Wiener-Dog doesn’t find Solondz going light to deliver an inspirational medley. Instead, he’s created arguably his most caustic film since Happiness.

A riveting excursion into fear and loathing on the campaign trail.

Yes, the story has the makings of a Lifetime movie; what grounds it are the terrific performances and Heder’s rich direction and screenplay.

Southside With You uses our affection for the Obamas to add urgency in the otherwise simple script.

Did you like The Commitments? Did you like We Are the Best!!? Well, Sing Street isn’t as good as either of those two, but it’s still pretty terrific.

It’s Shannon who leaves the most lasting impression.... She effortlessly mines the material for all its uncomfortable laughs.

It may wind up as the year's most significant horror film; it's certainly among the most original.

The ending doesn’t quite land the gut punch it’s hoping for, but this is more about fun than about exposing deep, nefarious truths. At least, I think it is.

It’s a shocking and compelling piece of work.

Ultimately, it’s a sweet movie with some good laughs and a phenomenal rap soundtrack, but it fails to rise above the pack.

The Lure’s premise alone will turn heads but once the novelty wears off the question will remain: where’s the story?

It’s one hell of a yarn, which makes The Lovers and the Despot’s strangely soporific style something of a disappointment.

Beckinsale is a hoot to watch as a character with no redeemable qualities, except for her cunning ability to get what she wants. You can’t help but love Lady Susan because of the evident joy she takes in being so duplicitous. Her energy is infectious.

For those looking for a ride through our modern technological world, or indeed a preview of what is to come, this is it.

Sachs’ approach is so humane, and his characters so fully rendered, that an agenda never announces itself; instead, Sachs’ worldview seeps into you. He’s that skilled a film-maker.

Greene makes it clear early on that his interests lie less with a news report than with what Werner Herzog dubbed “ecstatic truth”. The dial swerves between “catching something” to “clearly rehearsed” and back again, and all to the betterment of the final project.

Unfortunately a slack screenplay and lack of focus holds the project back from being anything more than an actors’ showcase.

For a directorial debut, Ross’s film is admirably odd and hard to pin down.

Equity takes us inside modern Wall Street in a unique and gripping manner.

The world needs people like Foley, and this film argues that cameras are every bit as important as firearms in the current struggle. This movie, despite its somewhat simplistic form, acts as a fine tribute to the man, his work and the bravery of others who are called to his field.