Along the way, Scala!!! (the number of exclamation points varies) takes in the history of a wider culture. You could see the community under discussion as that swimming in the long wake of punk.

It doesn’t quite work. Actors as talented as Negga and Patel can’t enliven the “zany” auxiliary friend roles. Levy’s script, more damningly, can’t quite reconcile grief with the film’s romcom ambitions. A promising first film, nonetheless.

There are endless nuances and ironies throughout. Though stories are told, In the Shadow of Beirut is more a mosaic than a narrative tapestry.

One Life breaks no new cinematic ground. But it tells a story worth hearing. And it allows an indisputable great one more chance to show us what he can do.

You would get more sparks from rubbing a wet flannel with a wetter rock. But try it anyway. It could hardly be more tedious than waiting for Freelance to crawl to its predictable denouement.

This pleasant dramedy is jollied along by its talented veteran ensemble and the odd narrative curveball: a subplot about dead cats yields macabre surprises.

Among the undercooked female parts, Cruz converts a nothing wife role into fabulous distress. Even she can’t save Ferrari. Who knew a film about fast cars could be such a slog?

Based on an acclaimed documentary, the film looks to be asking us to fill in the many gaps in its Swiss-cheese narrative.

A welcome innovation is the foregrounding of the dead; previous iterations have focused only on the survivors. The casting of mostly unknown Argentine and Uruaguarn actors adds to the novelty, as does the film’s compelling depiction of survivors’ guilt after the “Heroes of the Andes” return to their home country.

It is Coppola’s best film in 20 years.

If you want to avoid cliche and overworked influence you have come to the wrong place.

It’s a thrilling journey for both young viewers and those with more cause to ponder the afterlife. A fine bow from one of the great directors.

There remains a warmth and goofiness in Lehtinen’s performance that harks back to Napoleon Dynamite as much as it recalls such similarly themed bro pics as High Fidelity and Clerks. It’s enough to restore one’s faith in the near-extinct subgenre once known as the teen comedy.

The enduring quality of the 1953 original is rooted in its engagement with the twin atomic disasters of Nagasaki and Hiroshima. This prequel, similarly, yokes American imperialism, postwar malaise, survivor guilt and weaponised atomic power to produce the best action film of the year.

Though Dawn of the Nugget is not on the same plane as a masterpiece like Wallace & Gromit: The Curse of the Were-Rabbit, it delivers zippy good-hearted jokes at a cracking pace without outstaying its welcome.

There are similarities with the mumblecore science fiction of Shane Carruth’s Upstream Colour and The Endless, but Trenque Lauquen daringly stakes out its own spooky terrain.

There are similarities with the mumblecore science fiction of Shane Carruth’s Upstream Colour and The Endless, but Trenque Lauquen daringly stakes out its own spooky terrain.

There is some fun to be derived from supposedly maggoty peasants muttering rosaries against inclement weather while looking as if they’ve been styled for the Emmanuelle reboot. But not enough to justify a feature film, let alone all those paintings.

Late Wenders sits at an odd angle to the young man obsessed with wandering and with the United States. There is a sense of a busy mind eager to share enthusiasms. Its generousness is part of the appeal.

Wonka is not any sort of disaster. It is made with enormous professionalism. It abounds with good nature. And it does offer at least one fascinating titbit about the protagonist’s background.

The same droll humour and keen social awareness that have defined [Kaurismaki's] work since Leningrad Cowboys Go America, in 1989, are now put in service of a lovely, star-crossed romance.

There is a lot here about how female sexual desire is repressed and sublimated. There is an implied, though not exactly hopeful, treatise on the promise of the later 1960s. Not every risk pays off. But all were worth taking.

What is most conspicuously absence is a hint, in even the vaguest technical terms, of what made Bernstein such an admired conductor and composer. It is not enough to have people tell us (and him) he’s a genius. The film does, however, give us a dramatic tribute to the passion he put into his work.

The Eternal Daughter remains a dazzling double-header for Swinton, who, against all odds, disappears into both roles.

Its backwards glances serve only to remind us how transcendent Disney animation once was – as recently as Frozen – without offering any hopeful signposts to the future. But, yes, cracking songs.

Now 85, Scott again proves there is nobody so efficient at pressing contemporary technology to the limits. He also draws heroic performances from fleshy human beings

Daliland is an entertaining if disappointingly formulaic entry into the Harron canon.

The hilarious histrionics similarly mask the paedophilia, gaslighting and self-justifications. Haynes cleverly stages a soap opera only to ask: you are enjoying this, but should you be?