Wang Xiaoshuai returns to form with this story of how a couple in China, and their friends, cope with the death of their only son; despite its sombre narrative, the film may be his most upbeat yet.

A good antidote to Valentine’s Day schmaltz, but director tries to fit eight couples’ experiences into one feature film, and that’s too ambitious a goal. Its unclear narrative also leaves the film feeling a touch fragmented.

Director Hans Petter Moland tries to replicate the ironic tone and deadpan delivery of Coen Brothers films, but falls well short in this outing, while the Tarantino-inspired mayhem is often more childish than witty.

This seventh feature from Chinese filmmaker Wang Quan’an is full of humanity, humour and unforgettable images stunningly shot by French cinematographer Aymerick Pilarski.

Alan Mak’s convoluted drama is a rarity, relying on intricate plotting rather than action scenes to grip audiences; ultimately, though, its patient scripting, atmospheric build-up and efforts to appear contemporary come to nothing.

Forget the writer-director’s brand of wacky Cantonese humour, this Chinese production is his best in years – the story of Dreamy, a struggling would-be actress whose fortunes take an unexpected turn.

Let down by its script, this film’s admirable message is buried amid a welter of seemingly randomly concocted scenes, but redeemed partly by the participation of veterans Sammo Hung, Teddy Robin, Bruce Leung, Richard Ng and Tien Niu.

3D science fiction film set in the 26th century is a vast spectacle; Rosa Salazar is sensational as Alita, a cyborg with no memories who discovers her incredible fighting skills – a performance achieved via performance capture.

Innovative humour saves this film that can get repetitive at times. Chris Pratt, Elizabeth Banks and Will Arnett are at their best voicing characters in the sequel to 2014’s smash-hit children’s comedy