The director is clearly having a whale of a time taking the piss out of the corruption, cruelty and bribery rife in his country.

The Secret Agent is vicious and vivid in its sense of place and danger. But it also has a streak of weirdness and offers a very human take on the political-crime thriller genre.

In live-action mode, Lilo & Stitch has some of the charm of an ’80s Amblin movie, like E.T. or Gremlins.

As a storyteller, writer-director Hafsia Herzi is not coy, but she’s careful, allowing intimacy to emerge with the same tentativeness as it does for Fatima.

It’s as interesting for what it doesn’t show as for what it does.

Much like the case itself, a crime drama performed and crafted with this level of care and social resonance is well worth investigating.

Much will depend on how far you’re willing to go with the wild swings the film takes in its second half, but if you’re down for a trip, Sirat is The Wages of Fear meets The Vanishing on shrooms; startlingly original, jarringly hilarious and deeply disturbing.

Harris Dickinson steps behind the camera for a bruising, brilliantly strange debut that channels veteran auteurs like Jonathan Glazer and Andrea Arnold, while carving out a distinctive voice all its own.

Watching this Anderson extravaganza is like assembling a meticulously detailed puzzle: at times frustrating, but deeply rewarding when the full picture comes together.

For devoted filmlovers, Nouvelle Vague is a must-see – a joyful homage to the art of cinema that’ll have you queuing at your local repertory cinema as soon as the credits roll.

It’s a deeply raw and honest film. It’s bleak, but it also has a musical, black-comic, big-hearted spirit that pulls you through the despair.

This good-natured hagiography isn’t anywhere near free of pomposity, but even Bono seems to know when it’s best just to keep quiet and move on.

It’s Poots who carries the story, giving heart and soul to a performance of a woman who cannot help but careen her way through life like a bull in a china shop.

Hitchcock's sly blend of fantasy, game-playing and frightening lechery, and his continually inventive visuals, make for an intriguing exploration of '20s high-life.

So, sure, the plot is overstuffed, the cross-cutting is frenzied, and Pegg’s goofy asides are the only light relief from the underlying somberness. If you’re looking for flaws, The Final Reckoning definitely has them. But with action sequences this adrenalised, no one is leaving short-changed.

By keeping the camera in the vehicle, hauntingly lit with the blur of passing houses and the glow of the mobile phone, Hallow Road invites you to fill the scene at the other end of the line with a shadowy menace that the final stretch really delivers on.

This movie does exactly what a horror reboot should, taking the best bits of the original and heading in a smart, inventive new direction. There’s minimal reliance on nostalgia. It’s daft as hell and a heck of a good time.

Writer-actors Tim Key and Tom Basden’s three-hander, set on a remote British isle, have delivered a rare blend of unkempt charm, emotional precision and soulful folk music with this feature-length expansion of their own 2007 short, The One and Only Herb McGwyer Plays Wallis Island.

Yes, Friendship does feel in many ways like an expanded I Think You Should Leave sketch built on bizarro absurdism and a waterfall of exacerbating circumstances. To his credit, though, DeYoung – a TV director making his feature debut – does take advantage of the opportunity in some satisfying ways.

It’s a lurid psychological horror that’ll thrill midnight movie crowds.

As so often the case, this Marvel effort is best when its talented cast is flinging around snarky banter and self-aware asides.

The Friend is a poignantly affecting watch that mostly earns its emotional payoff, delivering gentle laughs along the way.

Ziba’s relationship with her unwaveringly affectionate mother (Narges Rashidi) is genuinely touching, a rejection of the austere immigrant parent stereotype.

You’ll get several movies for the price of a single ticket in Ryan Coogler’s (Creed) period drama-thriller-romance-musical Sinners. And while some of these disparate elements are more successful than others, the combination is audacious enough to leave you simultaneously awed and overwhelmed by his outsized ambitions.

Malek’s twitchy brand of anti-charm makes him an unusual lead for a film like this, and his outsider energy works better as the tormented killer-to-be than the doting husband. Heller is not always easy to root for, which can make The Amateur a chilly experience.

‘Painful to watch’ isn’t often a term of praise, but this action-comedy about a man who loses the ability to feel physical discomfort channels its unusual, nerve-numbing premise into a fun and oddly romantic ride.

A survival epic full of mysteries and magic, it’s an animated epic worthy of Ghibli.

This is far from the disaster that was predicted. It’s cute and cheerful, but its efforts to make Snow White both respectful to the original and relevant to a new audience leave it stranded in some smudgy grey areas.