Freestyle, funny but finally just too repetitive, Ice's affectionate home-movie needed someone to structure it into a deeper documentary.

Granted, the Lady Raven sequences go on for a bit too long - M. Night is clearly enamored with his daughter’s talent as a pop singer - but other than that minor indulgence, this is a taught thriller that slowly ties a rope around Hartnett’s throat and squeezes as the gig rolls on.

It may lose its way on occasions, but thanks to a committed cast and a script that captures the Kerouac vibe, Salles' adaptation never ends up on the road to nowhere.

Twists pile as high as corpses before an overcooked ending sends things spiraling into silliness.

A fun if by-the-numbers heist movie that brings the laughs, but doesn't stand out from the crowd.

This perfectly alright actioner will entertain newcomers, while leaving Blomkamp fans in a holding pattern until his next project.

Yes, it's effectively a feature-length vid and, occasionally, the synergy of beats and visuals slip as the manga-shaped action doesn't quite match the tunes. But it largely works, the spectacular space-disco-opera sensibilities ensuring that Interstella shimmers with verve throughout.

It's no Hakuna Matata, that's for sure. And it's far from Jenkins' best work, but in any other hands, a lot of Mufasa's intentions would have completely misfired. Thankfully there are some stellar vocal performances and VFX – but it could have been so much better.

Required viewing as a critique of US foreign policy but forgettable as a drama, Good Kill is a timely warning, even if it lacks the power of the horrors it depicts.

The film strips away ideas of heroism mercilessly.

While it lacks a memorable villain, and the central pairing fizzes but never sparks, the film gets by on its vintage charm and a third act upswing.

What emerges is a touching study (in more ways than one) of the trials, terrors and triumphs of living with physical disability.

This is a perceptive, warm-hearted work, anchored by Knoller's impressively less-is-more performance.

A feelgooder spiced by social conscience, this is one of those underdog productions with potential to punch well above its weight.

Carell and Carrey shine like sequinned suits in a comedy that allows them endless fun with the dressing-up box. More narrative verve and it could’ve been The Prestige in a big-cat wig.

Handsomely shot but rather inert adap of mid-19th-century play A Month in the Country.

There’s an undeniable charm here that, allied with the picturesque locations, results in a nostalgic throwback to a gentler age.

It suffers an abrupt ending and, compared to the creativity displayed in Coppola’s other biopic, Marie Antoinette, is a more muted affair.

Derivative and a little dumb but consistently fun: there’s personality and panache to spare in this monster blockbuster.

An old-fashioned romp through the eccentricities of the upper classes, it’s a fun mystery with a nicely filthy mind.

The leads deliver to order in this flimsy but playful frolic. A tankful of banter keeps the engine ticking nicely.

Not one for cynics or bedwetters, if you’re after a ripping, roaring, thigh-slapping giant of a fairytale, Bryan Singer’s blockbuster panto will be right up your beanstalk.

Precision-built to make you chortle, M3GAN is a l0t of 4un. On the fr1ghts front, however, it’s basically a Furby.

Spearheaded by a strikingly self-assured turn from Elle Fanning, this ’60s-set coming-of-ager follows two teenage girls whose bond starts to crumble under the emotional and political pressures of adulthood.

A lavishly mounted re-telling that, for all its good intentions and visual wonders, can’t help seeming surplus to requirements.

A mix of the intimate and cosmic that shoots for the stars. You’ll float… and sometimes bump back to earth.

From the generic title to the formulaic plot (stolen plutonium, highest bidder etc.), you can imagine the rest. But director Michael Cuesta (Kill the Messenger) injects vitality where it’s needed.

Grungy, compact and delightfully violent, Dredd wants to hit you as hard as it can. The sequel may be the movie you really want, but for now, justice has been done.