Lowery’s understated authority lifts his tragic romance above mere Malick mimicry, while Affleck and Mara bring heart to the scrupulous artistry. All you need is a little patience...

Magical and melancholy, tender and robust: rippling reserves of theme and style compensate for wobbly pacing in Keiichi Hara’s adaptation of Hinako Sugiura’s manga Sarusuberi.

The film never hides its uncomfortable truths in the shadows.

From multi-talented Belgian/Canadian duo Dominique Abel and his partner Fiona Gordon comes a slice of light-hearted whimsy.

Sully is a skilfully made reconstruction of a recent real-life feat of heroic professionalism. But narrative tension is sorely lacking.

Herzog's tapestry testifies to life's light from death's darkness. Its honest humanity and sideways-on character bare his illuminating imprint.

Nolan reaches for the stars in spectacular fashion, delivering a mesmerising sci-fi epic that, despite a testing running time and few too many flights of fancy, is grounded by an on-form McConaughey.

With his trademark subversive playfulness and delight in human foibles, Ozon weaves together comedy, suspense and occasional intimations of darker emotional themes, aided by subtly gauged performances from his two principals.

Terence Nance’s unique film, freely mixing autobiography, animation and artiness, is a dizzyingly complex collage about romance and memory.

If it sometimes feels a bit overstuffed, put that down to Lim’s understandable urge to prove that a gal-centred, globetrotting comedy can offer diversity, sharp social commentary, and dick jokes.

It’s not without its moments, but more comic dexterity and less brute force would have made a less choppy watch.

What could be better than watching Doris Day reprise her signature role, whip-cracking away in buckskin as the deadwood stage comes a-rolling in over the hills?

For a while, the film seems unsure which direction to take. But a darker third act sees Paul’s benign personality begin to warp in people’s dreams, impacting his entire life. Meanwhile, echoing the work of Charlie Kaufman (Being John Malkovich in particular), Dream Scenario morphs into a wickedly funny satire on the pernicious nature of social media.

After "Frozen," Disney delivers a heart-melter. The sweet, witty main pairing focuses a potentially busy, derivative super-group tale. Stay for the sting: Big Hero 7 is practically a given.

Exhilarating and exhausting in equal measure – a decent approximation of how the characters feel – Mommy puts us through every setting on the emotional wringer.

You root for them as they bond, bicker and endure grim dangers – gangs, traffickers, police – but Quemada-Díez doesn’t play soft, and the stinging climax really sticks with you.

Bursts of poetry, characters suddenly freezing, bees flying out of a priest’s crotch: there’s rarely a dull moment, but when it comes to explanation, the sparrow’s not the only one left hanging.

Ragnarok is both the MCU’s funniest outing yet and its clearest beneficiary of a playful, character-ful director’s voice since Guardians.

Delivering her first narrative feature since 2016’s American Honey, Arnold initially seems to be retreading familiar social-realist ground, delving into poverty-stricken working-class lives. But in its second half Bird crosses into fable-like territory, with impressive results.

Daniel Kaluuya is the motor for this lyrical but hard-hitting road-movie, fuelled by fury and frustration.

Avoiding the pitfalls of prurience and sensationalism, this dreamily photographed film reveals its young subjects to be vibrant and articulate individuals.

Sofia, so good. Coppola takes Manhattan with a breezy, beautifully observed daddy-daughter portrait.

Uses all the tricks in the Final Destination book to weave an intricate thrill ride packed with jaw-dropping, gasp-inducing, laugh-out-loud moments of gory fatality. With its killer set pieces, blood-soaked spectacle and knowing nods, Bloodlines delivers a worthy addition to a well-loved horror franchise that should satisfy existing fans and garner new ones to boot.

Enjoyably acted by a fine ensemble cast, it crisply skewers the hypocrisies of its left-liberal, middle-class characters.

Triumph and tragedy form an inseparable tag team in writer/director Sean Durkin’s (Martha Marcy May Marlene) emotional chronicle of the Von Erich clan, a close-knit family of sibling wrestlers whose rise to prominence in 1980s Texas was accompanied by a remorseless, almost Shakespearean succession of setbacks.

Tense and thought-provoking in equal measure, this is first-rate – a modern-day Dr. Strangelove played out on video screens.