Movies to watch this week at the cinema: Mockingjay Part 2, The Dressmaker, more...

Jennifer Lawrence gets involved with Capitol Punishment (Part 2). Kate Winslet dresses to impress and also to get revenge. Gaspar No returns with a different kind of 3D action. Yes, heres this weeks new releases. Click on for our reviews of The Hunger Games: Mockingjay Part 2, The Dressmaker, Love, True Romance, Mr Calzaghe, Geros, Hand Gestures, My Nazi Legacy, Steve McQueen: The Man And Le Mans, Momentum, The Russian Woodpecker, Star*Men and Revenge Of The Mekons. For the best movie reviews, subscribe to Total Film.

There's a lot riding on this one, but the odds are stacked in its favour. It's hard to overestimate the impact of the Hunger Games film franchise. Adapted from Suzanne Collins' trilogy of YA novels, the three movies thus far have grossed more than $2bn at the worldwide box office, and helped make a megastar of Jennifer Lawrence. Her Katniss Everdeen resourceful, independent hunter-survivor shines a light on the dearth of great female leads in modern action blockbusters. So it's a relief that, as a saga-closer, Mockingjay Part 2 hits the target. It's a noticeable improvement on last year's draggy Part 1. Picking up with Katniss in rebel base District 13, where she's recovering from the attack by brainwashed Peeta (Josh Hutcherson), it doesn't take long for boots to hit the ground and war to kick off. After spending the whole of the last film deliberating, Katniss is ready to take action against the Capitol. Claiming the head of President Snow (Donald Sutherland, deliciously despicable as ever) is at the top of her to-do list, even if that means defying the orders of the power-hungry leader of 13, President Coin (Julianne Moore). While Collins ditched her own formula for the third book by leaving out any actual Games, Mockingjay Part 2 more closely apes the structure of the first two films, with the booby-trapped Capitol making for an impressive ersatz arena as the action is televised and beamed to the masses. Screens are even illuminated with the day's 'kills', displayed along with the Games' trademark musical theme. Torrents of tar, motion-sensitive machine guns and the freakiest mutts yet await Katniss and co as they make their way through the city to Snows palatial safehouse. The scale of the action is impressive, from the helijet bombings and the abandoned cityscapes, to the teeming crowds of extras. That said, some of the most impressive set-pieces take place on a much smaller scale, the highlight being a particularly tense subterranean showdown, with director Francis Lawrence (who has been with the series since Catching Fire) ratcheting up the claustrophobia. And while the special-effects budget is flaunted on the screen for all to see, theres still time for the pointed satirical messages that have always separated the franchise from its more lightweight peers; Katniss sets off on her mission as the figurehead of the Star Squad, an elite team whose objective is to lag behind and film propaganda videos in relative safety. The cost of war and its rules is ruminated on frequently. Trying to cram so much in to an action-heavy narrative does lead to some clunky moments and the dialogue can occasionally jar. Perhaps not unexpectedly, the majority of the supporting players get short shrift. The love triangle between Katniss, Peeta and Liam Hemsworths Gale might be nearing its conclusion, but it's as inconsequential to the overall story as it has ever been, meaning its hard to care all that much about its outcome. With so many characters accumulated over the last three films, anyone outside of the central Katniss-Peeta-Gale triptych struggles to get a word in, limiting the emotional impact of some of the farewells. You might end up feeling that your particular favourite got shortchanged. Newcomers get even less to work with. Lets hope Gwendoline Christie has a more substantial presence in Star Wars: The Force Awakens than her single scene here. Thankfully, Jennifer Lawrence is predictably superb. At this point, you wouldnt expect any less. The Oscar-winner once again imbues Katniss with an utterly convincing steeliness thats offset by a subtly played vulnerability. Its this performance that has been such a key hook for the series as a whole, and never more so than here. If theres a poignancy that comes from knowing that shell (probably) never be seen on screen as the character again, that feeling is boosted by a couple of low-key moments for the late Philip Seymour Hoffman in his final posthumous role. To the series credit, the stakes feel genuinely high. Its a welcome quality in a blockbuster landscape dominated by inconsequential CGI-smackdown climaxes. OK, so its hard not to see the decision to split the final book into two films as a cynical one a single Mockingjay film mightve made for a more urgent conclusion. But for anyone who has been keenly following the series, its impossible to see Part 2 as anything other than a satisfying ending. Staying true to the source material and refusing to talk down to its audience (as well as once again pushing the 12A rating to its limits) this is assured and confident franchise filmmaking. After the dust has settled on this installment, its absence will be keenly felt. Lets hope, like the Mockingjay, its legacy can continue to inspire. THE VERDICT: Jennifer Lawrence shines once again in a fitting send-off for cinemas best YA franchise. The hefty action and high stakes outweigh any shortcomings. Director: Francis Lawrence Starring: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Donald Sutherland, Julianne Moore, Sam Claflin, Natalie Dormer Theatrical release: 19 November 2015 Matt Maytum

This is very wrong, says one character when confronted with violence. Yes, but Im unstable, comes the reply. Both statements apply to this Kate Winslet-starring adaptation of Rosalie Hams novel. Part outlandish Oz-com cut from the same cloth as 90s hits Muriels Wedding and My Best Friends Wedding (P.J. Hogan directed those and wrote this screenplay), part mystery-thriller and part spaghetti western, its tone hops about like a roo dancing on a Barbie. Returning to her rural town of Dungatar, Myrtle Tilly Dunnage (Winslet) shacks up with her cantankerous ma, Mad Molly (Judy Davis, excellent), and stares down the contempt of the townsfolk she was banished, aged 10, for killing a playmate. Now a glamorous, worldly woman whose titular profession ensures that shes forever enshrined in breath-snatching outfits, Tilly is hellbent on clearing her name and getting revenge while shes at it. And thats just the half of it. Theres also a romantic subplot with local lad Teddy McSwiney (a gently smouldering Liam Hemsworth), a crimson wave of grand guignol killings, and a cross-dressing police sergeant (Hugo Weaving). Fair to say thats a lot to stitch together for Jocelyn Moorhouse (How To Make An American Quilt) making her first film in 18 years. Many, for sure, will call The Dressmaker uneven or patchy and even a mess, but all of this genre-hopping and switching between sincerity and artifice lends it a pleasing energy. Winslet gives it both barrels as a femme fatale whose actions are buoyed by a score that blends Ennio Morricone-flavoured thrills and Philip Glass-tinged emotionality, while the towns ladyfolk floating through their spit-and-sawdust environ in dazzling haute couture is a gloriously surreal sight. Half an hour too long given its exhausting content, The Dressmaker is nonetheless an intriguing, fun oddity that highlights the absurdities and extremities of human behaviour. THE VERDICT: A female story grafted onto the traditionally male sub-genre of the spaghetti western, its by turns earnest and camp, violent and tender. And it kind of works. Director: Jocelyn Moorhouse Starring: Kate Winslet, Judy Davis, Liam Hemsworth, Hugo Weaving, Sarah Snook Theatrical release: 20 November 2015 Jamie Graham

A hardcore 3D sex film from the director of Irrversible? The mind boggles. And from threesomes to fetish clubs, Gaspar No doesnt hold back. Yet this American-in-Paris story, in which Karl Glusmans film student pings between two women (Klara Kristin, Aomi Muyock) is surprisingly tender. The cast is hit and miss, particularly Glusman (though full marks for his ability to perform in other ways). But No still stimulates, not least in cutting one scene to Assault On Precinct 13s theme. And the 3D? Youve been poked in the eye before, but never like this. Director: Gaspar No Starring: Aomi Muyock, Karl Glusman, Klara Kristin Theatrical release: 20 November 2015 James Mottram

Spearheading the BFIs Love season, Tony Scotts ebullient lovers-on-the-lam thriller is now a hard-to-believe 22 years old. Penned by Tarantino, it still feels box-fresh, for all its unashamed nods to Terrence Malicks Badlands. Red-hot at the core are Christian Slater and Patricia Arquette, as the geek and the hooker on the run after he steals her pimps stash. With Brad Pitt pulling bongs, Gary Oldman in dreads, and Christopher Walken and Dennis Hopper unforgettable, the result is a pure cinematic sugar rush. Director: Tony Scott Starring: Christian Slater, Patricia Arquette, Dennis Hopper Theatrical release: 20 November 2015 James Mottram

Theres nothing especially original about the way former boxing champ Joe Calzaghes story is told in this dutiful documentary talking heads (including Michael J Fox!) and TV footage are relied upon to trace his path from shy amateur through to retirement via the five key fights that defined his record-smashing career. But that barely matters when the sporting action is so thrilling. Calzaghe the boxer is a riveting presence in the ring; shame that the film never really gets that close to Calzaghe the person, leaving us wanting to know more about his relationship with dad/trainer enzo. Director: Vaughan Sivell Starring: Joe Calzaghe, Enzo Calzaghe, Michael J Fox, James Dean Bradfield Theatrical release: 20 November 2015 Stephen Puddicombe

The exuberant spirit of the French New Wave animates this playful, freewheeling debut by Mexican writer director Alonso Ruizpalacios. Set against the backdrop of the 1999 Mexico City students strike, Geros centres on two middle-class brothers adolescent Tomas (Sebastian Aguirre) and slacker older sibling Fede (Tenoch Huerta) who find themselves driving around the sprawling metropolis searching for a reclusive rock singer. Filled with digressions and tonal shifts, it reveals through its characters experiences the tensions and contradictions within wider society. Director: Alonso Ruizpalacios Starring: Tenoch Huerta, Sebastian Aguirre, Ilse Salas Theatrical release: 20 November 2015 Tom Dawson

Proof they do indeed make em like they used to comes in this spare, virtually wordless look at the work of the Fonderia Artistica Battaglia, a 100-year-old Milanese foundry that still uses the same methods to create bronze sculptures as were used 600 years before Christ. Francesco Clericis absorbing documentary catches its craftsmen at work on a dog facsimile by the artist Velasco Vitali, recording its journey from wax cast to finished article in a way that celebrates both ancient tradition and hard graft. Heavy, ahem, metal fans apart though, you do wonder exactly whom its aimed at. Director: Francesco Clerici Starring: Velasco Vitali Theatrical release: 20 November 2015 Neil Smith

Historical denial runs deep in David Evans doc about sons of Nazi war criminals, which begins rigorously but evolves into something gutting. Human rights lawyer Philippe Sands takes a thorough approach to interviewing Niklas Frank and Horst von Wchter, children of high-ranking Nazi fathers. Frank hates his father, a complete Nazi; more worryingly, von Wchter refuses to accept his fathers guilt. A stand-off between the two grows more fraught as Sands family scars emerge and his reserve slips, reminding us why the past should never be forgotten much less denied. Director: David Evans Starring: Niklas Frank, Horst von Wchter, Philippe Sands Theatrical release: 20 November 2015 Kevin Harley

Filmed on location in France during the summer of 1970, Le Mans was the dream project of its star and producer Steve McQueen. Drawing on hitherto unseen footage, interviews with its surviving participants, and private audio recordings of the late McQueen, this fascinating doc from co-directors John McKenna and Gabriel Clarke pieces together why the shoot went so wrong. A paranoid, obsessive McQueen emerges as an Icarus-style figure here, suffering the humiliation of losing creative control over the ill-fated production and the collapse of his marriage. Directors: Gabriel Clarke, John McKenna Theatrical release: 20 November 2015 Tom Dawson

An implausibly hi-tech diamond heist kicks off this otherwise run-of-the-mill action thriller. One-time Bond girl Olga Kurylenko plays a mysterious thief forced to fend off assassin James Purefoy, whos acting on behalf of Morgan Freemans corrupt senator. With cat and mouse circling each other far too often and for far too long, the film doesnt exactly live up to its name, but Kurylenko is clearly invested, and Purefoy has fun hamming it up as a super-smooth baddie. Freeman, however, quite literally phones in his handful of scenes, making it perfectly unclear whats actually at stake here. Director: Stephen Campanelli Starring: Olga Kurylenko, Morgan Freeman, James Purefoy Theatrical release: 20 November 2015 Matt Looker

April 1986, the nuclear power station at Chernobyl in Ukraine went into meltdown the worst nuclear disaster thats yet occurred. Nearly 30 years later, with Ukraine on the brink of revolution, Kiev theatre designer Fedor Alexandrovitch decides to find out what really happened. What he comes up with is an astounding tale of Soviet duplicity and official cover-up. Conspiracy theory? Maybe but Chad Gracias doc, which showcases Fedors eccentric personality, rivets the attention, not least for all the interviews with elderly, tight-lipped apparatchiks. Ukraine, were told, is full of ghosts. Indeed it is. Director: Chad Gracia Theatrical release: 20 November 2015 Philip Kemp

An engrossing look at hardy friendships and big science, this low-key but deep-thinking doc catches a ride with the 50-year-reunion California road trip of four elderly British astronomers, whose discoveries in the USA revolutionised their field. Getting both the long view (stunning night sky footage) and the close one (the quartet bickering about life, the universe and everything), the film explains complex theories with elegance and economy. Packed with heart-in-mouth wilderness quests, while posing chewy questions about god and death to the visionary professor Nick Woolf, its a quiet delight. Director: Alison Rose Theatrical release: 20 November 2015 Kate Stables

The most revolutionary group in the history of rock n roll? Whether or not you agree with the late Lester Bangs assessment, theres no denying that cult favourites The Mekons, the longest-running of the original UK punk outfits, are a gift to any doc-maker. Joe Angios jubilant film charts their gloriously shambolic and endlessly inventive journey from art-school collective to illustrious godfathers of alt-country (not bad going for a bunch hailing from Leeds). For those yet unfamiliar with their beautiful racket, this might just make them your new favourite band. Director: Joe Angio Starring: John Langford, Sally Timms, Tom Greenhalgh, Susie Honeyman Theatrical release: 19 November 2015 Ali Catterall