Russell Crowe's pained vocal stylings (they sound more like barks) as relentless Inspector Javert can be forgiven after hearing Hugh Jackman's old-pro fluidity in the central role of Jean Valjean, hiding a criminal past.

Director Teague revels in the regular motifs of guns, money, fast cars and bizarre death, grafts on a layer of social comment lately absent in exploiters, and still slams through it all with an anarchic humour sometimes worthy of Sam Fuller.

This is a deliciously languid, slinkily unsettling affair.

Kubrick himself rarely spoke about his work – which means this is a valuable insight into Kubrick's character and filmmaking process, as well as a frank look at what it means to give up your life to work at the side of a difficult creative genius.

Reisz nimbly avoids the Big Theme style, finds the pace of his material early, and sustains it brilliantly, emerging with a contemporary classic of hard-edged adventure and three superb character studies.

Though perhaps it tries too hard to be 'respectable' and downplays its tawdry trash vulgarity a little too much (the film is tough, but William Lindsay Gresham's superb novel is even tougher), this is still a mean, moody, and well-nigh magnificent melodrama.

If Bastards is cold, it’s never clinical; rather, it’s a fully engaged, deeply moral movie about people who are neither.

Perhaps it isn’t such a terrible thing to remind us that this is, essentially, just a dark exercise in genre: a romcom gone horribly, upsettingly wrong. In this sense – and we suspect Barker would take this as a huge compliment – Obsession is the worst date movie imaginable.

Delightfully embracing the specificity of Eastern culture, The Farewell reflects on collective considerations versus individualism, not unlike Crazy Rich Asians. It unearths the universality of complex familial love that defies borders and language barriers.

Though supported by Woodley’s subtle narration, The Fault in Our Stars is relentlessly outward. That’s part of the book’s inspiring touch, and even if some of the supporting cast comes off as merely functional onscreen, the core of the tragedy comes to life in a heartbreaking way.

What's most impressive is the simplicity and clarity of the enterprise - and, of course, the music.

The Square offers more than just pictures of a revolution; it lets you into the mind-set of those fighting for their future, and that makes all the difference.

Taking on tricky subject matter with gravity and depth, Honey Boy can’t be dismissed as yet another LaBeouf caper. It’s a reminder of a talent that, despite its own worst instincts, refuses to be snuffed out.

A mesmerizing study in excess, Peter Jackson and company's long-awaited prequel to the Lord of the Rings saga is bursting with surplus characters, wall-to-wall special effects, unapologetically drawn-out story tangents and double the frame rate (48 over 24) of the average movie.

Best seen on the big screen; even those with a cursory grasp of avant-garde cinema are likely to come away with their minds opened and altered.

There are points when the director allows his voice to ring a little loudly from behind the camera, but the richness and depth of both the photography and the characterisation manage to brush any signs of preachiness and sentimentality from view.

Too often dismissed as modish, it's in fact a mostly very funny, insightful, gently romantic account of well-meaning couples.

It takes a lot for a movie to out-bonkers Cage on this kind of form. Color out of Space manages it in style.

It's not an easy sit; we're never let off the hook with golden-hued memories or belated bits of wisdom. Maybe this is love after all.

The polemic may seem obvious and at times laboured, but the action sequences are brilliant, and the film does achieve a brutal, often very moving, power.

Buckley, so good in serial-killer thriller ‘Beast’, is sensational here.

Inspiring heartbreaker of a documentary.

This installment delivers a heavy and welcome dose of paranoia, administered between fleetly paced smackdowns.

The spirit of the movie is nonjudgmental, an observational intimacy that, in turn, becomes inspiring.