Prentice Penny directs her own script with verve. Mamoudou Athie, who’s been knocking on the door for a few years, is good enough to suggest that he’ll be unavoidable in a year or two.

Moving from his standard New York neurotic, Eisenberg does a convincing job of moving from frustration to a violent, active mania. Poots is better still as someone who can’t find the words to communicate her growing despair.

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.

This is a wildly impressive first narrative feature, powered along by a strong cast, great chemistry, virtuoso flourishes, and fierce energy.

Featuring terrific female characters, endlessly funny sidekicks and a genuinely jaw-dropping score, this loose adaptation of The Snow Queen is the best film from Walt Disney Animation in close to a generation.

Craig Zobel’s breathless film is stuffed with delicious jokes and eye-watering Tom-and-Jerry violence.

Appealing documentary of the Nobel Prize-winning author has fascinating details.

The film’s failure is a shame. The straight romantic movie deserves to thrive and African-American talent deserves an opportunity to play out its stories in the mainstream. But The Photograph is too nice, too leisurely and too lacking in friction. Oh, for more of the briefly glimpsed satire that, in scenes set in the 1980s, sees Mae’s mom competing for a job against an unending line of banal, primped, Upper East Side princesses. That’s what we’re looking for.

This is the kind of issue-driven cinema that used to win Oscars. That Dark Waters and Just Mercy weren’t mentioned during awards season is as troubling as it is perplexing.

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.

Onward falls well short of magical.

Extra Ordinary is not always subtle, but most viewers will yield to its mystic charms.

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.

Working from his own tight script, Whannell demonstrates an admirable ability to place the wet-yourself shocks where you least expect them. Benjamin Wallfisch’s insidious score complements later action, but the director is prepared to play out the opening conflicts with no music whatsoever. Great thought has gone into the architecture of this ingenious structure

There are some good ideas here. The overpowering prettiness is welcome in the windy months. But the characters are somewhat lost in a busy rush to find some new angle (any new angle) on a much-adapted text.

It’s not quite as bad as the awful trailer threatened. Just dull, bland and pointless.

If you found yourself internally screaming for Ryan Reynolds to shut the hell up during Deadpool, then the relentless, zany narration of Margot Robbie’s Harley Quinn will likely send you gibbering and ruined towards the emergency exit after, oh, 23 seconds.

This tribute feels plausible. It feels touching. But it also feels a bit otherworldly. All those adjectives are appropriate for another tremendous film from one of our era’s great young directors.

The Lighthouse stands as a monument to two titanic performances. Pattinson’s easy naturalism curdles into something unnerving and evil here, while Dafoe goes full German Expressionist villain with the biggest screen performance since Daniel Day Lewis in There Will Be Blood.

Some of the stylistic flourishes are delightful. Others work too hard for their own good.

Potentially interesting religious and philosophical dimensions – novenas in the dashboard, Jesus on the telly, the notion that the ghost evidences an afterlife – are swiftly discarded by this wholly redundant reboot.

The wacky mythology is offset with gorgeous hyperreal visuals, as raindrops bounce off umbrellas and puddles. With more than a nod to real world climate change, Weathering With You clings to love in the face of rising oceans and environmental catastrophe.

The movie doesn’t quite stop mid-sentence, but it comes as close as any film I’ve seen. That can’t be it. Can it? ... A total waste of time.

It works as therapy. It works as an acting showcase. But the dips and flips we demand from narrative art are missing throughout.

It’s Lee Chatametikool’s temporal-jumping edits that define this compelling drama.

Watching anonymous child after anonymous child arrive for treatment makes for grim and frustrating viewing. We want to know who these kids are, but the film does not. It’s the very antithesis of how hospital drama – narrational or otherwise – are supposed to function.

Gibney is equally fascinated by Putin’s journey from anonymous civil servant to strongman, and the broader political scene’s increasing resemblance to performance art. It makes for an arresting chronicle and many follow-up questions.

A terrifying reminder that those with absolute power don’t make good retirees.