For all the disappointments, McQueen has delivered a grand mainstream entertainment that puts pressure on the tear ducts as it uncovers unspoken truths.

Many will roll their eyes when Williams is praised for supposedly ground-breaking collaboration with luxury brands. But the real problem with this tolerably diverting film is that he isn’t really that interesting.

All this might be unbearable were it not for some lovely performances and, despite the familiar tropes, a commitment to treat Louis and his condition with respect.

Like the village it depicts, the film is meticulously crafted yet oddly two-dimensional: a map, not a place.

DeVine gets away with a barn-door broadness that, nodding to the Jerry Lewis tendency, chimes with a film that works a surprising amount of explicit violence into its hectic slapstick.

The appearance of Malik Zidi rounds off a fine cast and introduces intriguing echoes of the amnesiac romance of Eternal Sunshine of the Spotless Mind. That and decent tech specs, including some nifty shots from veteran horror cinematographer Maxime Alexandre, offset the slightly cobbled-together feel of the material.

Cowboys nonetheless gets by on goodwill and a passion for compromised Americana. Only a lowdown dirty heel would cuss it out.

Hardcore fans will rejoice in telling us it is not for children. It’s not really for adults either. But the eternal inner adolescent that lives within us all will almost certainly have a swell time.

It’s a fascinating delve or “kaleidoscope” as the film-makers have it. The film is as complete a portrait as we may ever get.

The emotional pyrotechnics that scaffold most cancer dramas, give way to something that is as honest as it is understated.

The film never attains the Shakespearean-sized tragedy of the Korean director’s Decision to Leave or the bludgeoning impact of OldBoy.

Almost entirely set in the island community, The Road Dance delivers on its mission to entertain without defying any long-standing conventions. A pleasant slice of afternoon telly for the big screen.

Clocking in at just over an hour, Get Back: The Rooftop Concert turns out to be simultaneously too much and not quite enough.

Once Upon a Time in America remains the most “problematic” of Leone’s major pictures. It is enveloping, operatic and slightly mad. We can forgive the confusion and the non- synchronised dialogue. But to this day the misogyny remains indigestible. [2014 re-release]

The Bard’s most famous creation may be many things, but Scarlet’s earnest moralising about empathy and collective responsibility feels more like Polonius’s vibe.

Will Gluck, who presided over the disastrous 2014 adaptation of Annie and the misfiring comedies Friends with Benefits and Easy A, makes for a competent presence in the director’s chair. It’s the human stars, however, who truly shine.

Reviews will be mixed. But it has every chance of being resurrected as a cult classic.

Malmkrog is a talky, challenging slog, but it’s seldom short of ideas. One is unlikely to find greater consideration of pelagianism in any other film this year. Or decade.

Sure, you will learn more – and hear more of the original recordings – in Asif Kapadia’s great documentary Amy, but Taylor-Johnson does a decent job of making a tight drama from the same tragic yarn.

Mendes’s script, though it contains some memorable scenes, tries to do too much, as it takes on racial and sexual inequality, mental-health issues and, incongruously, the romance of cinema.

The longer it goes on, however, the less fun and more earnest it becomes.

This remains a sincerely felt piece of entertainment that, unusually for current mainstream cinema, treats the audience and its characters like adults. Worth indulging.

Onward falls well short of magical.

We are left with a perfectly respectable, eminently professional slice of prestige arthouse. Nobody with even modestly open-minded sensibilities will walk away in a blind fury. Few will leave in an ecstasy of transcendence.

We should celebrate Winterbottom’s determination to get these points made in a mainstream entertainment. Greed is good enough (sorry). But we still deserve something better.

Has Denis Villeneuve succeeded where others – most notably Alejandro Jodorowsky – have floundered? Given the extensive runtime, it’s impossible not to think of Chinese premier Zhou Enlai’s alleged assessment of the French revolution: “Too early to say.”

If the writers were really doing it by the numbers there’d be a drunk one, a foreign one and a mad one. Cattaneo gets the digits back into the formula, however, for a rousing finale that – as we all knew it would – bounces back from a last-minute setback.

Beefed up with one too many musical numbers from the protagonist’s dad, The Perfect Candidate feels a bit slight on plot and character. But Zahrani’s performance and the urgency of the issues elevate it from the ordinary. A great last shot compensates for all deficiencies.