Largely gung-ho nonsense, but it’s always a pleasure to see J.K. Simmons in ball-busting mode, barking words like “simpletons!” at his men.

Firth is terrific in an unbelievable-but-true tale that charts a course from the ridiculous to the profound.

Rural life is familiar terrain for British cinema, but with Barnard as our guide, it remains an enthralling destination.

A superior sports biopic with a never-better LaBeouf? You cannot be serious! But it only fully gets to grips with the ice-cool Swede.

A stellar performance from Geoffrey Rush centres this diverting glimpse into the chaotic life of a great artist.

The Death of Stalin review: "A frighteningly funny satire that finds humour in historical horror"

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

Entertaining, engrossing and at times genuinely unnerving, Bruckner’s bad trip is one for horror fans to relish.

If the imagery is less racy than TOF fans may be used to, Pekka Strang’s quiet turn as Laaksonen has a simmering power.

Deliberately paced and expertly acted by a weathered ensemble including Hugo Weaving, Mystery Road also boasts some of cinema’s most gorgeous magic-hour photography even if, elsewhere, light is in perilously short supply.

The culture clash comedy cleaves to predictability but the story’s specificity sustains its perceptive look at the human impact of post-9/11 jingoism.

It takes real talent to make something so studied feel this soufflé-light, especially in the Hatchers’ charming naturalism. Trouble is, Bujalski is too successful – in the end, everything is left hanging.

Andersson’s movie reveals poetic ironies, surreal slapstick and melancholy truths, often all wrapped up together.

The Terminator story recharges with a post-apocalyptic jolt of energy. Frantic and full of welcome ties to the past, it also ploughs new ground with purpose.

Buoyant, buffed and with the promise of even better to come, this is the freshest Trek in decades.

Origins is an accomplished slice of comic-book entertainment, full of fights and action set-pieces impressive for a director touching big budget for the first time.

The car-nage that ensues is confined to a maze of underground tunnels, too dark and claustrophobic a setting to appreciate stunt scenes already made hard to follow by the epileptic editing.

This is 007 in mid-story crisis; a festival of blaring action set-pieces propping up a scrappy script and undercooked characters.

For most of the film’s running time, Wain refuses to give in to mush or melodrama, preferring to prod hopelessly dysfunctional characters into uneasy duels, just to see who blinks first.

Barry Levinson’s comedy is stronger on the incidental detail: Keener ruthlessly expelling an underling from her office, or Variety’s acid reporting of an agent’s suicide (‘10 per center puts himself in turnaround’). But the big finale at Cannes feels inauthentic – a bit of a letdown from the director who so brilliantly pilloried Robert Evans in Wag The Dog.

Limp, transparently plotted flight fodder. Jilt it.

Smith casts non-pro Venkatesh Chavan alongside Bollywood star Nana Patekar to achieve credible chemistry, enhanced by his choice of quiet observation rather than Slumdog -style pizzazz and the delicate emotional kick and finespun simplicity of a short story.

Let it be said that it’s such a fearless, fierce, menacing turn that comparisons with Jack Nicholson don’t come into it. This is the definitive Joker.

Gusman is sullenly magnificent; you can’t fault the movie’s realism either, shot in an actual prison and soberly reflecting some acute social problems. But the movie’s muggy pace makes you feel that you’ve served every day of Julia’s sentence with her.

For all its garish aesthetics, sly feminism and wall-to-wall nudity, writer/director Anne Biller’s camp-com is almost too much of a good thing, outstaying its welcome at a paint-drying two hours.

Based on an oft-adapted ’60s sci-fi novel, this charming, visually fertile film captures the conflicted emotions of first love and embarrassment of being a teen with real sensitivity.

[A] highly idiosyncratic semi-musical.

As Stallone’s gentle gift for funny, engaging, naturalistic dialogue starts to take hold, the movie fills up with tiny, poignant moments. Scuffed with heartfelt sincerity and naïve emotionalism, it’s a film that makes little people bigger than life.