In the plus column there’s a small handful of decent gags, a clutch of welcome cameos (Eddie Izzard, notably) and at 85 minutes it doesn’t outstay its welcome. There’s also a fairly solid moral about free will and personal desire. But nothing else here really clicks.

U.N.C.L.E. has enough style and smarts to make it an amusingly louche summer movie: a cultivated mix of action and wit, suits and cities, that feels refreshingly analogue in a digital world.

You forget how limited so many movies’ ideas of women are until Amy Schumer launches into an extended tampon joke: nothing is off-limits as she kapows through expectations of female characters.

This dizzying, courageous, utterly humane and slightly unhinged film is a unique achievement.

This reboot of the Marvel superhero franchise is a film of two halves: the first likeable and fun, the second tiresome and loud.

This is a busy, moderately entertaining slice of family-friendly fluff. It’s flatly directed and functionally acted.

The Gift will have you triple-locking the doors and rushing to pull the curtains.

Pacino gives his most natural performance in years.

Hard to Be a God is an endurance test for its protagonist and audience, yet the reward is an unforgettable cinematic experience and a timely insight into the need to remain human in a world of carnage.

First-time director Sophie Hyde’s mazy, impulsive but sympathetic approach is always true to her characters’ exasperating but ultimately affecting pathway towards hard-earned self knowledge.

What a ballsy film and honest too.

Ghost Protocol plays it strictly by the book: the characters are bland, the plot is over-familiar and the action sequences are resolutely old school. But animator Bird relishes the chance to play with real people.

As filmmaking, X+Y is unassuming and not entirely remarkable, but the relationships play so sweetly and memorably.

With its unusual central conceit and awkward, somnambulant pacing, The Cobbler feels like a quirky foreign comedy that’s been mis-translated into English, losing all the subtlety and humour in the process.

This woman has plenty of blunt wisdom to share.

First-time feature director Jonas Govaerts handles the shocks and scares competently, and the pace is well maintained. But the characters are a forgettable bunch.

The cat-and-mouse chase across the desert that follows is entertaining to begin with but unnecessarily drawn out, leaving far too much room for Douglas to plug with cartoonish quips and daft machismo.

Rogue Nation is an uneven film.

Both actors are tremendous. Sy adds powerful dramatic shading to his usual irresistible charm, while Gainsbourg hints at a sunnier disposition beneath her volatile nervousness.

It works and then some, making for a noirish and complex emotional thriller. And Hoss is incredible, playing Nelly with the shuffling gait and haunted expression of a dead woman walking.

Rohrwacher draws us into this unusual world with the ease of someone who knows exactly what they’re talking about, neither judging nor celebrating and, at her best, just looking with tenderness and a winning sense of humour.

A film that doesn’t quite blow the lid off the sugar bowl, but ought to keep pop-science fans sweet.

For a while the film broaches genuinely unexpected comedic and emotional territory, and while matters eventually return to the safe haven of pat formula, at least there’s been some vim and vigour added to the amiable observational humour and likeable performances.

The film showcases Lea Van Acken’s remarkable central performance and director Dietrich Brüggemann’s adept control of a deliberately rigorous aesthetic.

The Choir is decently directed, competently performed and mostly watchable, but it’s saccharine and totally unworthy of its impressive cast.

Here’s heavyweight French auteur Bruno Dumont demonstrating his gift for deadpan comedy.

Missing – and missed – are Matthew McConaughey as snake-hipped strip club owner Dallas and director Soderbergh, who gave the original its lived-in feel.

What makes The New Girlfriend special is that is has something to say about sexuality (feminine, masculine, gay, straight, and everything in between – it’s complicated).