Think Luis Buñuel spliced with Hieronymus Bosch.

Eugène Green’s (The Portuguese Nun) direction favours symmetry over emotion, while the impassive performance style recalls French auteur Robert Bresson. It lacks the profundity to fully merit that comparison, but earns its uplifting ending.

Could have been a grand folly but instead it’s just grand. Will make audiences break into grins like its characters break into song.

If ever there was a film that epitomised the saying ‘no pain, no gain’, this is it. Packs a real wallop.

For dance fans this is a fascinating study of the time, effort and logistics that go into a big production.

If this isn’t the biggest tearjerker of 2017 we’re in for a distressing year. A truly, ahem, tree-mendous fantasy.

Rob Lowe provides colour as a Southern-accented sleazeball, while the Free Willy finale has enough vehicular mayhem to excuse its dodgy FX.

Shooting in dull, wintry colours, the mood is set for a story that can only end badly.

The Pass is narratively simplistic but psychologically complex.

Best of all...is the mini-animation fashioned out of Suskind’s Walt-inspired scribblings.

The drama gets overwrought but Shults stages the fallout artfully, stressing choppy montages and a nerve-rattling sound mix as tensions erupt.

Intelligent, original and committed, it’s also a little meandering. But Records cuts a strikingly amoral figure, and the sight of Christopher Lloyd intoning poetry over dying embers reminds us what a wonderful actor he is.

Joseph Gordon-Levitt is credible as the former NSA contractor, but Stone gets side-tracked by his relationship with Lindsay Mills (Shailene Woodley) and Rhys Ifans’ leering CIA suit.

An impressive directorial debut – and acting turn – from Parker that deserves to be seen, despite the PR firestorm.

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.

Interviewing key figures in his life, they build an anecdote-rich bio.

Punctuated by a handful of well-observed scenes that belong in a better film...it's ultimately a flat, ineffectual affair that goes off with a whimper rather than a bang.

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 ever-watchable Idris Elba and a handful of muscular action sequences are scuppered by a flaky-pastry plot which badly misjudges subject matter warranting more considered exploration.

The great thing about Arabian Nights is that if one story isn't to your liking, another pops up, so the decision to give this tale a feature-length running time is perplexing. But quibbles aside, this is daring, magical filmmaking.

Volumes one and two are especially captivating, as Gomes himself appears onscreen to tell of how he charged a team of researchers with scouring Portugal in search of tales.

One of the princes of arthouse cinema, Miguel Gomes here uses his status to push form and stretch boundaries. Very long but very much worth it.

Meandering like a jazz riff, Miles Ahead is a curio that doesn't quite come off. But credit Cheadle, both in front and behind camera, for refusing to play the easy notes.

Celia Imrie and Emily Watson are a breath of fresh air and lead Raffey Cassidy fares better than most of the kids, but it’s not enough to save this dreary caper.

Clearly no stranger to John Hughes movies, writer-director Kelly Fremon Craig brings a spiky wit and a warm-hearted, nerd-friendly finale to a comedy that wants for nothing but a little substance.

Bleed for This is made with palpable commitment by all involved and there are scenes to jolt viewers out of their déjà vu.

Right from the first frame the urgency rarely wanes as Lee juggles fireworks, firearms and feminism.