The Fits is abstract and atmospheric, intense and surprisingly emotional. There are few explanations in this short tale. It’s hard to pin down, but guaranteed to leave a mark.

This forgotten chapter of history deserves to be better told.

Overall, Logan is something rather special: a moving and mournful story of life at the end of the line, and the perfect blockbuster for these embittered times.

The Great Wall is not exactly a good movie – but it’s a pretty enjoyable one.

The Space Between Us is mostly harmless. But it won’t come close to troubling your heartstrings, let alone the space between your ears.

It’s an important story, of course, but only mildly engaging as cinema.

These dysfunctional, hypersensitive Japanese teens and their quest for erotic and spiritual enlightenment make for a swooning, often riotously funny melodrama charged with a refreshingly perverse undertow.

Perhaps understandably, it’s slightly scrappy and can feel a little like an overextended TV sketch in places. I laughed hard – feeling like a bit of a sicko – but you might find it plain nasty.

What a stupendously entertaining ride it is. Director and former stuntman Chad Stahelski is back in the director’s chair, and he knows his craft inside out: every punch lands hard, every gunshot roars like thunder.

It’s easy to throw accusations of staginess at film adaptations of theatre like this, which honour the limitations of theatre and make only limited attempts to open up the play. But there’s a hothouse atmosphere to this domestic drama that works well on screen.

A ferociously paced, wildly silly pastiche of those comic-book blockbusters we’re all getting a bit sick of.

Imagine simultaneously eating wallpaper paste, listening to Coldplay and watching the entire ‘Da Vinci Code’ trilogy back to back and you’ll have some idea how grindingly tedious the experience of watching Rings becomes.

After the bruising honesty of ‘Calvary’, it’s probably not surprising that McDonagh felt the urge to cut loose a little and make a movie with few ambitions beyond cheap violence and filthy laughs. Let’s just hope he’s got it out of his system.

The script can’t find the right tone, torn between hard-hitting satire on the pitfalls of capitalism and goofy, upbeat we’re-in-the-money clichés. It’s a fine line that ‘The Wolf of Wall Street’ walked with ease – but Gaghan, sadly, is no Scorsese.

Cameraperson’ is a thoughtful examination of the role of the documentary-maker, showing us how it feels to be that person behind the camera.

Danny Says doesn’t break the rock-doc mould, but it’s a must for fans of noise and nostalgia.

iBoy’ is a sparky film, embedded in London’s cheek-by-jowl world of wealth and poverty. It’s also a dark teen drama, peppered with brutal beatings, gang rape, drugs and dead bodies.

Denial cries out for a little more subtlety.

Like the original, T2 Trainspotting is a winning mix of low living and high jinx, a stylized spin on real life.

These young women have already witnessed enough horror to last a lifetime, and in this unforgiving society their lot seems unlikely to improve. A grim but necessary watch.

Director Amber Fares strikes a perfect balance, telling a righteous, uplifting story of triumph against the odds without ever losing sight of the bigger political picture.

Irreplaceable builds in intensity as we realise the profound humanity and community spirit embodied by everyday heroes like this. Beautifully done by a writer-director who clearly knows his stuff.

Packed with warmth and wit, this is a lovely lo-fi charmer.

The relentless gloom can feel oppressive, but there’s plenty of ambition here, especially in the layered storytelling and woozy sense of time and place, with plenty of soaring aerial shots that nod quietly to the all-seeing eye of a computer game.

There are a handful of really interesting scenes.... But for the most part Passengers is so anodyne, so frightened of the ethically troubling opportunities inherent in the setup that it just ends up feeling forgettable and silly.

True to the spirit of the title, writer-director Lee organises the sprawling mess of Mija’s personal life with the control and grace of a master, each digression and seemingly arbitrary encounter all building upon his elderly protagonist’s spiralling sense of distress.

It’s a sad project, a testament to lives cut short and stories half-told.

The tone careens from high seriousness to easy parody in a way that makes the film slightly imprecise and slippery. Still, nothing else quite like it out there, that’s for sure.