Offering a fascinating window into a world often distorted and oversimplified, this is informative, stimulating and moving stuff.

Director Amber Fares finds a frankly astounding subject for her first feature-length doc, using the story of a few brave sportswomen to shine a bright headlamp on lives lived under occupation.

Sex, drugs, murder, radical verse and Radcliffe make persuasive bedfellows in Krokidas’ live-wire lit-pic. It gets busy, but fizzy direction and Rad’s rigour help to keep its pulse alive.

Jennifer Lawrence shines once again in a fitting send-off for cinema’s best YA franchise. The hefty action and high stakes outweigh any shortcomings.

Hanks takes to Walt like a pair of cosy slippers, but it’s Thompson who adds layers to a classy but predictable slice of Disney schmaltz.

A delightful live-action recreation of a familiar fable. You’ve seen it before, but its spirit and pizzaz are pretty much irresistible.

The thematic weight drags down the tension, yet just when it seems Janiak has forgotten the scares she pulls off a creepy finale.

Sharper, meaner, and meatier than Prometheus, Covenant's weak narrative drive stalls its brutal good intentions.

A moving morality tale set in a world rarely seen in western cinema, Metro Manila is an underdog drama that feels as authentic as it is original.

Pixar falls back on the tried and tested in an entertaining caper that will be a surefire kid pleaser this summer. Old favourites are always welcome, but it would have been nice to see some more new ideas too.

Loud, lewd, inventive and outrageous, Deadpool is a delight. All credit to Reynolds and co. for having the steel balls to go this far.

Garland’s bold, original version of what horror can be when it swaps tired old tropes for visceral, visionary thrills is an absolute game-changer.

The sci-fi settings – dystopian grit-scape, rainbow-coloured cosmos – are dazzlers; the satire is playful not snarky; and as you’d expect, several unexpected cameos. It doesn’t sweat too hard to appease both kids and adults – the latter’s pain much felt in a scene you might describe as product mis-placement.

Wheatley, Jump, Hiddleston and co occupy Ballard’s towering inferno with brazen style. If the plot wobbles precipitously, chalk it up to the high-rise ambition of a genuinely wayward Brit-film one-off.

Though it covers similar thematic ground to Laurent Cantet’s haiti-set "Heading South," Seidl’s gruelling film proves his knack for leaving viewers emotionally discomfited.

Propelled by Lust’s performance, this is a fascinating study of solitude and sociopathic obsession, up to a point.

Both revealing and good-natured, its a very inviting exploration of one of the 20th Centurys major artists.

Glen Powell’s whirlwind ascent continues in a film that does pretty much all you could ask for from a Twisters movie.

All of this is watchable enough, but Strange World does rather lack dynamism in the final third, especially after such a hallucinatory set-up. As the story heads towards resolution, it becomes more likely to elicit shrugs not shrieks.

Jaw-dropping in colour and splendour, but if the constant awe gets a bit tiring, at its best you can genuinely feel some great wheel turning.

A visually striking and inventive overhaul of well-oiled IP that suggests animation was the right path all along. Autobots, roll out!

Torn between mountains and karaoke bars, Tharlo looks as lost as his lamb: a parallel delicately developed in this warm, wise fable of uncertainty.

With A+ acting, a solid script and sensitive handling, there’s enough here to move even the hardest of souls.

So what if director Charles Walters settles for mimicking George Cukor's set-ups shot for shot - he still deserves a fat slap on the back for flawlessly shoehorning in a half-dozen belting Cole Porter numbers.

Cooper’s western may be too meditative for some, but its grit, beauty and honesty are too potent to ignore.

A low-budget, highconcept WTF thriller that might have been conceived by Rod Serling in the heyday of his Twilight Zone series. Spread the word.

This classy, female-centred Omen prequel is devilishly good at keeping its nun on the run.

The Dardenne brothers deliver a perceptive portrait of professional integrity under pressure.