It’s a family adventure that’s the right sort of heartwarming, delivering real human emotion through the medium of a small bear.

In Between is a great film. The performances are fantastic – as the gorgeous, headstrong Laila, Mouna Hawa is mesmerising. It’s not always uplifting but it is compassionate and intelligent.

If anything, this doc reminds you that all relationships are strange, hopeful experiments in intimacy. And it’s that same hope the filmmakers lend to Dina and Scott’s story: you find yourself willing them along, wanting their marriage to work. You end up feeling honoured to have shared these special moments with them.

This is Tavernier’s own film story so don’t expect a linear, full history of the cinema of the time. However, it’s anything but dry, as the film swoons with passion for Gallic films and filmmaking.

Director Jung Byung-gil (‘Confessions of Murder’) combines a familiar but fun story with slick combat action, whether it’s in dark streets, seedy clubs or underwater.

It’s full of sharp dialogue and entertaining characters and fuelled by a wryly enlightened view of our world and how it can be at once cruel and caring. For a story built on such dark foundations, it’s weirdly reassuring. It’s also enormous fun.

This is a fun action adventure that resonates because it doesn’t glamorise everything. You feel a warmth after watching it, as there’s something in its depiction of imperfect, loving family relationships that stays with you.

Nighy gives another suave masterclass, and the whole thing positively burns with passionate advocacy for the artists, free-thinkers and social outsiders who’ve been the making of modern London.

Some accuse the filmmaker of being just like the politicians who turn up, look around and do nothing. It adds a confrontational edge to the film’s already startling combination of immersive aesthetics and humane empathy.

A pleasure and an education.

Recalling the provocative docu-fictions of Abbas Kiarostami and Jia Zhangke, Our Beloved Month of August offers meta-textual manna for adventurous cinemagoers while remaining exhilaratingly true to its sunny, provincial roots.

The action is the attraction. If that means some of the film feels a little distant and chilly, it’s in the admirable service of avoiding simplistic drama or easy sentiment.

The painterly camerawork shows the sheer sophistication possible these days with digital technology. The only conventional note in a highly distinctive film touched with wry humour is the too-safe choice of a Mozart music cue.

Not much happens in The Midwife, but its depth and texture make this a moving film about families, time passing and shared history – and the handful of scenes in the maternity unit where Claire works, five or six little miracles of birth, somehow add to its sense of a life as mysterious and precious.

Striking an effective balance between suspenseful intrigue and wacky humour, director Marshall handles both the spy-jinks and Goldberg's eccentric antics with confident panache. There are occasions when Goldberg does rather too much, arresting the action by lapsing into stand-up comic routines; fortunately, the plot soon regains its brisk momentum.

Richter's comic genre hybrid comes complete with its own mythology, and team of established superheroes, and is curiously appealing.

As a portrait of power gained and lost, of unchecked self-absorption and what drives people like Assange to do what they do, it’s absolutely fascinating. Watching it feels like history unfolding in close-up.

This captivating drama exists on another level: the devastating ending left me sobbing.

This is a provocative, intelligent movie for those with a strong emotional constitution.

The film isn’t perfect. It’s slightly too long and drifts a bit in the middle. But the final showdown left me in a cold sweat.

Kore-eda’s insight is so unflinching, his affection for his characters so intimate and sure, that not a moment here feels wasted.

This really is Wonder Woman coming to the rescue of the DC Comics universe.

A messy, troubling and strangely enjoyable film.

There’s great energy to this film: quick dialogue, snappy performances and a lived-in feel make us quickly believe this world, its characters and their hang-ups.

All in all, ‘Madame Bovary’ is quite something, gradually building to a jawdropping final scene. Anyone with an interest in Chinese arthouse cinema really needs to see this.

It’s a deeply humane film, as well as a quietly hilarious one.

Thorncroft is a gem of comedy creation – played to perfection by Barratt.

A somewhat dour, slightly clenched viewing experience perhaps, but delivered with admirable insight, control, and nuanced subtlety by all concerned. It stays in the mind long afterwards.