United Kingdom
Certainly a crowd pleaser, Zoo is light and easy, yet lacks a certain depth for its subject matter, despite its talented cast, that will leave you wanting more.
Despite its ambition and occasional impressive visual flourish, Monochrome is wrecked by its slow pace, poor writing and dull, unconvincing characters.
Director Isabel Coixet tries to adapt The Bookshop’s source material in its entirety – and it feels incoherent told as a narrative feature.
In Darkness could have been an exciting thriller with a complex, well-written female protagonist but it instead ends up being a convoluted and messy misfire.
Dominic Brunt’s horror comedy Attack of the Adult Babies is equally versed in British toilet humour and the classics of the horror genre.
On Chesil Beach feels like three separate character studies awkwardly forced into one occasionally incoherent film – but with a characteristically brilliant Saoirse Ronan performance at the centre, it is never anything less than compelling.
The Escape from director Dominic Savage is an unsettling character story, one that takes its time getting its claws into you but ultimately delivers an intense ride.
With 30% of British children living in poverty, director Candida Brady’s film couldn’t be timelier, depicting the harsh realities of young Britons’ lives with an unapologetic sincerity.
Haifaa al-Mansour’s Mary Shelley, helped along greatly by Elle Fanning’s powerful performance, will summon up all of one’s righteous feminist anger and make one appreciate the accomplishments of Mary and those like her all the more.
Lacking emotional honesty, Disobedience from director Sebastián Lelio fails to create believable, organic tension between its characters and translate an understanding of the films primary cultural focus and subject matter.
Obey is a compelling watch anchored by visceral, emotional performances by Rutherford and Miller, and a well-crafted script by Jones.
Beast is a gritty psychological-mystery with a brilliantly dark, pulsating and atmospheric heart, with an exceptional lead performance from Jessie Buckley. Michael Pearce delivers a brilliantly assured and confident feature-length directorial debut.
This belated sequel to Gnomeo and Juliet poorly attempts to expand the cinematic universe – and merely exposes the poor storytelling within.
While Treasures from the Wreck of the Unbelievable may be a wreck of its own, there are hidden treasures within that do deserve discovery.
Funny Cow is one of the most harmful depictions of the British working class in popular culture since Sacha Baron Cohen’s Grimsby, in addition to being one of the most mindbogglingly racist and homophobic films in recent memory.