Patrick Cremona

Disclosure Day is an imperfect film, then, but it is also one with no shortage of great moments and the undeniable stamp of the great Steven Spielberg. And if that doesn’t make a summer blockbuster worth checking out, then frankly what does?

A more ambitious and genuinely subversive film would have dug a little deeper into this muddy ground. As it is, Savage House is an amusing diversion powered by a pair of devilishly game performances.

It's all richly compelling stuff – a culture war drama that's provocative without being sensationalist.

The result is something that – for better and worse – presents Star Wars at its most light, pulpy and throwaway. It’s the sort of engaging action-adventure story that will play best with younger audiences and those in search of a small dose of escapism, while lacking the grandeur and scale of the very best Star Wars tales.

Hope is most certainly a film that will divide viewers, and it’s not especially difficult to find faults – including with some of its baffling hints at a deeper mythology. But as a crazy action spectacle – best enjoyed with an engaged audience – the sheer enjoyable thrill of it all is impossible to deny.

Teller and Driver really are terrific – the latter especially great when we discover both the extent of his force and the limits of his bravado. And so even with those aforementioned flaws, there's plenty here to savour, and more than enough for Gray's relatively small but extremely devoted band of die-hards to celebrate.

If there's a downside, it's that although Fatherland barely hits a false note during its brief run-time, perhaps there is a sense at times that it's a little too economical; this is a hugely effective sketch which could perhaps have benefitted from being built out a little further. Still, it can't be denied that Pawlikowski skilfully crafts a bleakly atmospheric tale that leaves the audience with plenty to chew on.

It's an endlessly engaging and often very funny film equipped with arresting imagery, gorgeous design (including some beautiful matte paintings) and no shortage of gleeful gore. Or to put it another way, this is another instant cult classic from Schoenbrun, and it's already fascinating to ponder what they might do next.

While perhaps this doesn't quite announce Winslet as a major new directorial voice – her approach is more functional than eye-catching – Goodbye June is still a worthwhile film with some impressive moments, and seems likely to leave many a viewer with a tear in their eye.

It's safe to say that this particular entry in the series gets a little darker, a little more unsettling and a whole lot weirder than either of the previous instalments.