Another convoluted tale of criminal bumbling.

The writing and direction lean towards the obvious, but there’s much to chew on regarding tradition, progress and the power of the white lie.

The original footage – devastatingly intimate; familiar yet alien – still stops us in our tracks more than six decades later.

This isn’t much more than a series of ridiculously dotty sketches, and might have worked better as a sitcom, but it’s surprisingly hilarious.

The cast fail to gel and the tone of the film sways uneasily between melodrama and something more gentle. It’s too twee and theatrical to take seriously.

Even now at 50, Jarvis is a man who remains head-on crushable while dry humping an amp like your geography teacher on the Bacardi Breezers.

Everyone here deserves better.

You’ll walk out of this electrifying documentary about the Arab Spring with your blood boiling.

While it definitely takes its foot off the action, Mockingjay – Part 1 goes deeper and darker.

There’s much over-egged mugging from the grown-ups (bumbling toff Richard Griffiths, shouty sarge John Lynch), but the lads are spot-on: young Mackay is effectively touching and bristling O’Connell hints at Next Big Thing charisma.

The film’s unwillingness to judge either the decent yet doubt-wracked pastor, or the damaged souls seeking a new start, effectively draws us in to a whole cluster of gnarly dilemmas, where humane intentions prove counter-productive and the truth only makes matters worse.

Extraterrestrial doesn’t amount to much beyond a mish-mash of movies we’ve seen before.

In the end Horns is weird without being interesting.

It’s a bold, beautiful cosmic adventure story with a touch of the surreal and the dreamlike, and yet it always feels grounded in its own deadly serious reality.

There are no great upsets or fireworks here, just a tender sketch of what it means to (probably) be gay as a school kid. The storytelling style is as inoffensive as the music (Arvo Pärt, Belle and Sebastian), and the performances are amiable and relaxed.

Diehard romcom fans will have their socks charmed off, but this is no ‘Notting Hill’.

We don’t invest anything in either character, and with barely any tension, Serena grabs neither head nor heart.

It’s hugely entertaining.

Citizenfour is at its most eye-opening and essential simply as a portrait of the then 29-year-old Snowden at a point of absolute no-return in his life as he spends almost a week hiding out in Hong Kong before disappearing into an entirely new existence.

Brad Pitt pulls along this gutsy, old-fashioned World War II epic by the sheer brute force of his charisma.

As a thriller, Before I Go To Sleep is perfectly effective, but while director Rowan Joffe keeps the twists coming, something about Kidman’s blank, frosty performance is unconvincing.

You can watch The Innocents twice and walk away with different conclusions. Psychological horrors have imitated its ambiguous ending ever since. Few have pulled it off half as creepily.

Demange is a strong storyteller and masks the script’s tendency to nod to every opinion and social division by offering a masterclass in tension as soon as his dramatic bomb starts ticking.

Entertaining but never quite thrilling, this actually feels like the second film in a franchise, coasting along, but saving the best bits for the next episode.

With solid performances from all three leads and lovely twilight photography, the stage is set for a heartfelt coming-of-age drama – but the dire script has other ideas.

There’s only so many times an audience will fall for the same manipulative editing tricks. Still, with fine performances and a rich sense of place, this is a promising start.

The London scenes are fine but the guys seem far too relaxed in Miami considering death is looming. And we’re given no reason to root for them other than that they’re young and good-looking.

Janiak has succeeded in making what she calls ‘an elevated genre story’, yet much of its frightening psychological ambiguity is erased by a disappointingly conventional ending.