McDonagh’s latest is a worthy In Bruges reunion: smart, funny, deeply felt.

It might be too heady a brew for some, especially those whose appreciation of tennis is limited to strawberries and cream. On the acting front, though, it’s a virtual grand slam, Zendaya, Faist, and particularly O’Connor fine-tuning their characters’ 13-year romantic imbroglio into a lusty love match for the ages.

Daniel Craig is on fine form leading a killer cast in Rian Johnson’s boisterously enjoyable murder mystery. All the evidence points to a winner.

The simple approach teases fascinating parallels between art and marriage: essential to both, it seems, are a thick skin and an optimism verging on madness.

Director Craig Gillespie (I, Tonya) tells this pandemic-era David-and-Goliath story energetically.

The ending stumbles, but not enough to tarnish this study of life lived under society’s radar.

Twists and betrayals add spice to a familiar cat-and-mouse tale, while director Kim Jee-woon handles spectacle and drama with equal aplomb.

With explicit sex and penetrating philosophy, this erotic odyssey requires close attention and an open mind.

Over-ambitious perhaps, but Freyne’s intensely executed ‘infected’ fable packs tension, resonance, and clout.

Cool as you like one second, camp as Christmas the next, this entertainingly overpumped action-horror will have genre fans (and their mums) grinning from ear to ear.

Sticking tightly to its heroine’s everyday routines and rituals, this deft blend of humour and pathos fully earns its defiantly upbeat dance-floor denouement.

Chastain stalks the corridors of power with steely aplomb in Madden’s coolly compelling incursion into House of Cards territory.

An emotionally rewarding reunion tour for established fans and a taut, sharp-tongued, character-driven thriller for all, Veronica Mars makes a compelling case for its heroine’s continued existence.

Family-friendly, spooky fun with surprising emotional heft and an ensemble cast clearly having a ball.

Enchanting.

Funny, foul-mouthed and frighteningly on-the-money, Top Five is relentlessly amusing even while it’s super-indulgent and selfabsorbed. Rock on.

Thought-provoking rather than arousing, both films explore the director’s ideas about love, sexuality and loneliness. The organ he seeks to stimulate most is your brain.

With McAvoy acting as if his life depends on it, Filth is the Irvine Welsh film we’ve been waiting years for. Tastier than a deep-fried Mars Bar.

Whether or not you’re a fan of Wonder Woman, this tale of her creation is rich, evocative and enlightening.

Simple but effective, The Good Dinosaur doesn’t reinvent the wheel, but it’s still damn fine family entertainment. Slow to get going, it comes into its own when its heroes buddy up.

With a little money, a lot of innovation, and sweat-soaked stunt sequences backed by a thumping soundtrack, The Fast And The Furious reminds you just how exciting action cinema can be. It's everything that Gone In 60 Seconds should have been.

The leads make sweet music in an affecting four-piece that, if not note perfect, plays well to their individual strengths. A marked improvement overall on this year’s other Quartet.

The film’s only let down by its too-frequent recourse to narrative cliché.

Populist fare from across the channel that will amply repay those ready to put the time in. The scenery, meanwhile, makes you want to run out and buy a timeshare.

It’s not iconic sci-fi to match Alien or Blade Runner but it is a topical, supremely crafted, intelligent, heartfelt spectacle with gallows humour to die for. Strap yourself in.

An all-too-familiar story is told with empathy and vigour in a film arguing for tolerance, activism and change.

The solemn score, plucky Brits and nasty Nazis are all familiar, but there’s a lived-in feel that transcends cliché.

Nodding to Badlands, Natural Born Killers, My Own Private Idaho, even The Lost Boys, Bones And All is as interested in loneliness, connection, self-identity, and fiscal invisibility as compulsion. Who misses the murdered if they don’t ‘exist’? And what adolescent hasn’t felt the creeping dread that their needs or bodies are out of step with society?