Overall this is a terrifically watchable, heartfelt documentary and a valuable glimpse into a singular life.

The extraordinary skill with which Shults’s camera prowls and probes the enclosed surroundings also channels Robert Altman in chamber-drama mode. Those are strong comparisons, but this unexpected and hugely impressive US indie debut is worthy of them.

The icky, well-teased, nightmarish climax is visually stunning for a low-budget project, though perhaps a touch too straight-up strange for some.

This is a film with a big heart and an even bigger imagination.

As a memorable teen character, she’s almost up there with Cher from ‘Clueless’ or Ellen Page’s Juno. Watch and wince.

While it fascinates as much as it frustrates, the film’s saving grace is that it always feels honest and never cynical. It seems both relevant to us and personal to the filmmaker.

Overall this is a stupendously entertaining movie, crammed with delights.

There are few surprises in Creepy. With the exception of a bleak, pointed ending, it all plays out as you’d expect. That’s not necessarily a criticism – it’s fun to watch the pieces click into place, and the film is never less than slick, well-acted and nice looking.

Allied attempts to balance joy with heartbreak, and never fully manages either. But fans of old-school entertainment are unlikely to leave disappointed

This entertaining first spin-off from the Harry Potter movies is both inventive and familiar – and Eddie Redmayne makes an endearing new wizarding lead.

While the characters lack credibility, the social backdrop and texture of the performances certainly don’t, and Villeneuve manages to say more about the sorry state of the Middle East (Lebanon is suggested but never mentioned) through the bold, crisp way he shoots faces, buildings and parched, beige-brown landscapes. So let’s call it’s a strong film based on a weak story.

Director Alexandra-Therese Keining clearly loves the book and tries to squeeze a little too much of it into her overcrowded film. But it is visually lovely – the transformation scenes are magical – and the young cast are terrific.

The strands don’t so much intersect as float into each other’s peripheries to basically inconsequential effect, despite attempts to tie them together.

It’s an emotionally involving rather than harrowing film, with scenes as beautiful as oil paintings.

There are sequences in Doctor Strange that could burn the top layer off your eyeballs, crammed as they are with some of the most unashamedly drug-inspired imagery since the ‘The Simpsons’ episode where Homer takes peyote. But problems arise when Doctor Strange tries to tackle the everyday stuff, like telling a half-decent story.

If Zwick’s film improves on Christopher McQuarrie's inaugural, incoherent 2012 entry in the series, it's not through any special initiative on the film's part. But it's efficient, unfussy, and doesn't try to think any faster than it can run.

[An] informative documentary.

Phantom Boy is frequently beautiful to look at, but the cops-and-robbers angle feels tired and the characters are thinly sketched.

Trolls is not break-the-mould brilliant like The Lego Movie or Toy Story, or a keeper like Frozen. But it’s a lovable and giddy guilty pleasure.

It's a spare film, muted in colour and unflashy – and it's all the more powerful and urgent for it.

Origin of Evil takes a while to get going, and the demonic possession plot pretty much runs on rails. And yet there’s plenty to admire here: strong performances (‘ET’ legend Henry Thomas is a welcome sight as a kindly priest), top-notch jump-scares and some unexpectedly lovely, almost ‘Far From Heaven’-ish autumnal photography.

Smartly cutting off before the long decline, this is an epic story, beautifully told.

75 minutes isn’t really long enough to fully examine the Sky Ladder project, let alone an incident-packed artistic career. Still, as an introduction, this is entirely serviceable.

By the end, even Hanks looks a bit bored.

Fitfully entertaining, with some grabby trial scenes, the film struggles to find a proper, engaging focus.

Like a fridge whose door’s been left open overnight, the film doesn’t feel chilly enough. It’s not terrible, but fans of the book may well be disappointed.

The use of education as a tool to enforce an ardent religious ideology upon children is what’s most distressing here (remember Malala Yousafzai?), and the filmmakers back up their investigations with testimony from key speakers in the Pakistani academic communities and a young girl who ran away from her local madrassa training programme.

Props should go to director Klaus Härö for making such a predictable premise feel fresh and his cast of characters – from a suspicious, disapproving headmaster, to the foil-swinging kids – feel engaging.