As a bombastic insight into twenty-first-century sport, where even the weigh-in attracts a whooping sell-out crowd, the film has value. However, ultimately, it’s just another cog in the McGregor hype machine, settling for the chest-beating tone of a pre-fight press conference.

If it's all a little too crowded with characters, Branagh’s pacy direction keeps the story zip along to a conclusion that’s tense even if you remember whodunnit.

It’s a family adventure that’s the right sort of heartwarming, delivering real human emotion through the medium of a small bear.

In Between is a great film. The performances are fantastic – as the gorgeous, headstrong Laila, Mouna Hawa is mesmerising. It’s not always uplifting but it is compassionate and intelligent.

If anything, this doc reminds you that all relationships are strange, hopeful experiments in intimacy. And it’s that same hope the filmmakers lend to Dina and Scott’s story: you find yourself willing them along, wanting their marriage to work. You end up feeling honoured to have shared these special moments with them.

Tonally, it might feel a bit like a ’70s Disney movie, but visually, it’s absolutely up to the minute.

The approach is pretty conventional, but the characters – from unassuming singer Ibrahim Ferrer to wonderfully glamorous Omara Portuondo – are so brilliant you’d struggle not to be swept up in it all.

In short, the raw materials are there for a fun – if throwback – genre piece of the kind that kept ’90s cinema stocked with stiffs. Alas, the tension dissipates in a tangle of muddled subplots, sluggish pacing and some strange decisions from director Tomas Alfredson (Tinker Tailor Soldier Spy). The result isn’t a Bone Collector, never mind a Se7en.

It’s slightly frustrating that Winslet’s character Alex is nearly always the one who needs looking after, but the chemistry between them is good, the suspense sufficient and the ending gives you a gentle tug on the heartstrings.

Much of the challenging discomfort of the play is replaced with the easier, quicker wins of revenge, sex and redemption. It remains a daring project ­– but you’re better off reading the play.

Social media has never been so scary.

Even Dench, while adeptly highlighting the vulnerabilities of age and the loneliness of power, can’t distract from the soft treatment, which leaves little room for the harsh realities of prejudice which must have made this a more painful and ugly chapter for many involved than this film ever dares suggest.

This gets an extra point for an exciting action finale, but loses several for a hero who may try your patience well before then.

This is Tavernier’s own film story so don’t expect a linear, full history of the cinema of the time. However, it’s anything but dry, as the film swoons with passion for Gallic films and filmmaking.

Director Jung Byung-gil (‘Confessions of Murder’) combines a familiar but fun story with slick combat action, whether it’s in dark streets, seedy clubs or underwater.

It’s full of sharp dialogue and entertaining characters and fuelled by a wryly enlightened view of our world and how it can be at once cruel and caring. For a story built on such dark foundations, it’s weirdly reassuring. It’s also enormous fun.

This is a fun action adventure that resonates because it doesn’t glamorise everything. You feel a warmth after watching it, as there’s something in its depiction of imperfect, loving family relationships that stays with you.

Nighy gives another suave masterclass, and the whole thing positively burns with passionate advocacy for the artists, free-thinkers and social outsiders who’ve been the making of modern London.

Liman mines the story for familiar but fun comedy...though it never reaches the comedic heights of rise-and-fall classics such as Goodfellas or The Wolf of Wall Street.

The Hitman’s Bodyguard is not exactly killing it, but coasts on the charisma of its central stars.

Some accuse the filmmaker of being just like the politicians who turn up, look around and do nothing. It adds a confrontational edge to the film’s already startling combination of immersive aesthetics and humane empathy.

A pleasure and an education.

In its atmospheric soundscape, cinematography, taut characterisation and storytelling, this is a very involving genre thriller.

The Wall isn’t a terrifically exciting thriller, but it’s thoughtful and fitfully suspenseful – a lean, character-driven and quietly rewarding film.

Recalling the provocative docu-fictions of Abbas Kiarostami and Jia Zhangke, Our Beloved Month of August offers meta-textual manna for adventurous cinemagoers while remaining exhilaratingly true to its sunny, provincial roots.

Narrated entirely by its subject – no famous faces popping up to tell us what a ledge he is – the film is intimate and crisply told.

The action is the attraction. If that means some of the film feels a little distant and chilly, it’s in the admirable service of avoiding simplistic drama or easy sentiment.

The film is let down by thin characterisation, struggling to generate much empathy with its square-jawed, tough-yet-troubled special-forces warrior heroes.