Any film that teams up gruffer-than-thou icons Shepard and Johnson is bound to go heavy on the testosterone, but Mickle undercuts all this strident manliness with a rich vein of self-mocking wit and paternal angst.

The film’s blanket refusal to question its subject feels not only cowardly, but antithetical.

This homegrown romcom is pretty much doomed from the start.

There’s plenty to enjoy – a handful of smart one-liners, a few nifty shocks and one truly unsettling confrontation in a cemetery – but nothing to give Joss Whedon a run for his money.

It’s as handsomely shot as any film about an ace shutterbug ought to be, and Binoche infuses familiar internal crises with palpable pain and urgency.

Willow Creek doesn’t take us anywhere new – the climax is abrupt and unsatisfying – but it’s a whole lot of jarring, juddering fun while it lasts.

This is the director’s most vivid, most emotional and humane film, and perhaps his best.

As arthouse coming-of-age films go, this is brilliant – smart and sensitive with a screw-you feminist streak. And it’s beautifully acted by two first-time actresses playing Eka and Natia, who have been friends forever.

Chases on foot and four wheels keep the thing moving, but apart from a thematic wrinkle where Besson’s clearly siding with the hood rather than the lawmakers, it’s all pretty predictable.

After a shaky start, Bad Neighbours blossoms, with inspired visual gags in excellent poor taste.

Tracks might be a bit slow for some, but it’s one of those films that quietly creeps up on you.

The Stag is formulaic and schmaltzy, and its endless gay jokes jar with its warm-hearted message – but it coasts along on an undeniable likeability.

First-time feature director Omid Nooshin makes the best of a minuscule budget, and his punchy script doesn’t brake for breath.

Instead of updating the genre, The Other Woman rehashes it, bringing little more than a few giggles and a dash of glamour to the table.

There’s enjoyably smutty comedy to spare... but the film’s bleakest segments are actually its strongest.

The film can’t match the novel’s elegant, startlingly excellent Booker-Prize-winning writing, but a first-class cast (including Charlotte Rampling and Sinéad Cusack) make this an absorbing watch.

The film never works out how to generate genuine dramatic fire from its material. There are convincing performances and decorative retro detail to admire, but the heart needs to beat just that bit faster – and it doesn’t manage that.

The first half of Magic Magic is greatly enjoyable... Sadly, director Sebastián Silva isn’t sure where to take his characters.

This Brit comedy has the watchability factor of a mediocre TV sitcom.

An overlong, at times almost plot-free soap opera that introduces a wealth of characters and dips into a wide variety of subplots but never comes together as a story.

We Are the Best! is a joyous celebration of youth, friendship and rebellion, and if there’s a nagging note of regret and bitterness it never manages to undermine the overwhelmingly compassionate tone.

Lyrical, satirical and hugely entertaining, it deserves a wider audience.

It’s formulaic, but also largely entertaining, quite touching, occasionally amusing and competently animated.

Half of a Yellow Sun bravely takes on too broad a canvas with too narrow a budget, but it’s a relevant saga that’s worth telling.

If you make it as far as the obvious, disappointing denouement, you might be left asking yourself if the filmmakers’ abstract style is better suited to short films.

Pioneer delivers insidious, shadowy tension, while it’s genuinely surprising to find yourself so engrossed – story glitches notwithstanding – in key issues like compression sickness and divers’ gas supply.

There are a couple of decent jumps and a few giggles, but nothing armrest-clenchingly scary about The Quiet Ones.

[A] wickedly funny black comedy, all fatalism and gallows humour, with both a beating heart and an inquiring mind lingering beneath its tough-guy bluster.