La Belle Saison (2016)

The premise reads like arthouse erotica: a French farmgirl moves to Paris, falls in love with another woman, has a lot of sex.

Fences (2016)

When Fences gets caught up in the moment, it sings like the best cinema.

Fifty Shades Darker sands off the sharp edges that made its predecessor an interesting – if not precisely good – film.

Gloriously weird in a way that will either revolt or delight you.

Resident Evil: The Final Chapter offers a full-throated sequel that’s thick with references to earlier films.

Moonlight: the poetic breaking through the quotidian in carefully-considered yet intuitive gestures.

Manchester by the Sea’s protagonist represents the distillation of uncommunicative masculinity as well as its deleterious effects.

Split is already being heralded as M. Night Shyamalan’s “return to form.” It’s not.

Shepherds and Butchers’s biggest failing is its inability to consider race with any nuance – surprising, given its apartheid-era setting.

Live By Night begins as the gangster film we’ve seen before – Boston, molls, tommy guns and prohibition.