Justin Lin gets the series back on track with Fast and Furious 9 by delving into the past while racing into the future. See it on the biggest, loudest screen possible.

If the story doesn’t strain itself in pursuit of originality, it does build to a satisfying conclusion.

You might think that spousal bereavement and whimsical romantic comedy would make uneasy bedfellows, and you'd be somewhat right, as the debut from French duo Stéphane and David Foenkinos doesn't quite reconcile the divide between premise and tone.

Banking on exec-producer Refn's name, this glossy dealer-in-debt remake gets plenty right but lacks the hard-hitting vibe of the cult original, or a fresh take on gangster-pic London.

The arid landscapes are handsomely shot, the set-pieces punchy and intimate, and the performances robust, with Portman reminding us just how good an actress she is as her no-nonsense Jane gets on with the business of survival.

The home stretch is drenched in sticky-sweet sentiment, but Murray’s fans will rejoice at the chance to see their idol in full-on grouch mode.

It never quite gets inside the head of its subject, writer/theologian John Hull. Thankfully, Hull’s observations – an audio diary – provide plenty of insight and engagement.

The material is a French classic, and Auteuil directs as such: this is cosy, undemanding heritage cinema.

A serviceable translation of a theatrical success whose weaker elements are found wherever it veers too widely from its source.

Bobin’s attempt to fill Tim Burton’s shoes generates a lively but ersatz sequel that only truly ticks when Baron Cohen and Bonham Carter are around.

Script and acting are flawless – but set beside Bertolucci’s glory years (The Conformist, Last Tango In Paris, Novecento) it all feels a bit slight.

Fine turns from Streep and Jones bedrock this compassionate, quietly subversive drama.

The ending may be a little too tidy and obvious, but this is a sweet little study of the right royal mess people can make of relationships when they let their own neuroses take over, and a warm tribute to overcoming them.

It’s best to sit back and luxuriate in the film’s unhurried pleasures: crisp Mediterranean settings, Alexandre Desplat’s mournful score and a clutch of likeable performances.

Savages is punishing in places, but there are enough colourful characters and careening twists to make it worth the effort.

Big vistas and big names can’t compensate for the film’s necessity to cram Dickens’ rich, sprawling set of characters and twisty subplots into a two-hour film.

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.

It’s entertaining to a point. ... But whether the filmmakers truly get under Trump’s skin is debatable. Do we learn much new about him? Perhaps not, but it’s an absorbing journey all the same.

Alex Beaupain's songs effectively convey emotion, but Beloved doesn't scale the heights of the Truffaut and Demy films it pastiches.

Although only slightly more outrageous than reality, The Campaign is a funny, pacy peek behind the political curtain.

It's definitely the 'other' Gordon-Levitt film out this month, but this silly cycler whizzes by amiably. Star charm helps: JGL's enjoyment in his job adds welcome levels of Levitt-y.

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

Slick but overstretched, Predestination deserves respect for what it tries to achieve rather than dismissal for not getting there. Either way, you will not be bored.

The ’toon still rules when it comes to heart, but this shot-for-shot remake is an impressively mounted, visually breathtaking nostalgia rush.

Sharp and shiny as the jewellery its twisted teens pilfer, Coppola’s cautionary tale eschews action for angsting about celeb- obsessed culture. Worth it just to hear Watson snarl “I wanna ROB!”

Gorgeous animation and inspired set design help patch over a lacklustre script. The horror hardcore will enjoy playing spot the homage.

Stylish and savage, but nothing you haven't seen before. Lawless is something of a blunt instrument but seductive nonetheless.

With robotic depictions of Iran's 'morality police', the political subtext is strictly one-dimensional. But with ace choreographer Akram Khan on board, the dancing is powerful.