Anna Smith

It’s a believable portrayal of the impact of gaslighting and brainwashing: Alice’s conviction that she’s at fault will resonate with many audiences.

If the storytelling sometimes feels straightforward, it’s more than merited by its captivating story and powerful message.

By leaning into those relatable complexities, Causeway will offer plenty for fans of thoughtful, quality dramas that touch on humanity, trauma, connection and the kindness of strangers.

The Woman King is a story of sisterhood and racial identity that deserves to pack in the crowds. About time, indeed.

The Score doesn’t always strike the right notes, but it has its high points thanks to a simple, rewarding romantic arc.

From Certain Women to First Cow, Reichardt has delivered some deep and powerful storytelling, and seeing her commit more fully to her lighter side is both refreshing and slightly frustrating by comparison. Still, Showing Up is an amiable watch that has something to say about power dynamics, the art world and our relationship with animals – who are used for all their symbolic worth.

Kreutzer has her own style of revisionist feminist history, and aided by Krieps’s bold and brilliant turn, it’s riveting stuff.

Diwan was BAFTA nominated for the film, and it was richly deserved, while Vartolomei makes a luminous heroine full of gritty determination. Their collaboration makes for an atmospheric, gripping drama with a poignant contemporary relevance.

Austrian filmmaker Sebastian Meise manages to find romance amidst the dirty needles and dirty toilets, delivering as many memorable tender images as he does unpleasant ones.

Mothering Sunday isn’t exactly a cheery watch, but it’s an intelligent, affecting British drama with a splash of French sensuality.

Reminiscence has imagination to spare, but it doesn’t deliver the precious memories it promises.

It is an unusual mix of intense, angsty character-driven drama and laugh-out-loud jokes about the film industry. It’ll be best enjoyed by those who live in the milieu it depicts, along with fans of Amstell’s bittersweet wit – and there’s probably overlap between the two.

The kids and Caine are good, but this lacks the magic of its source novel(s). Younger children may enjoy it, but its attempts to entertain older viewers mostly fall flat.

If this energetic, fitfully funny version introduces the story to a new generation, heck, bring on a new ‘Sense and Sensibility’ too.

Alice Guy-Blaché was the first female filmmaker yet criminally overlooked by history – something Pamela B. Green sets out to correct in this educational and entertaining film.

There's little tension or opportunity for emotional involvement in the brief story, and despite competent animation the cats are rarely anthropomorphised to good comic effect. One for anime - and animal - lovers only.

Diop tackles serious issues in the framework of a touching and romantic drama with intriguing sways into genre territory, leaving the viewer much like Ada: a little confused, but oddly bewitched.

While Meg Wolitzer’s source novel is written in Joan’s voice, The Wife resists narration and allows Joan to internalize her feelings, ranging from affection, concern and duty to bitterness and rage. It’s a smart move.

It’s quietly absorbing and fitfully shocking as we experience the sights, sounds and smells of the streets where a one-year-old child can wander around alone without anyone stopping to wonder why.

While this has its pleasures, it feels more like a doc you’d watch on terrestrial TV rather than seek out in the cinema.

As ever with this filmmaker, symmetry is a hallmark, though both visually and narratively, this busy film lacks the serenity and jaw-dropping beauty of The Grand Budapest Hotel. Nor is Isle of Dogs as well-rounded and satisfying as Fantastic Mr. Fox. But as its curious canine cousin, it’s a movie that Anderson fans won't want to miss—as if they could anyway.

It’s well performed and a periodically fascinating study of Bradford’s seedy underbelly that’s rarely seen on film

Don’t expect Austen-style humour, though: ultimately, you may be frustrated by a narrative that punishes its pleasant protagonist so thoroughly. But credit to Brizé and crew for an impressive piece of filmmaking with a refreshingly contemporary approach.

A charming animation with funny — if samey — moments and a quality voice cast.

At 134 minutes, the film may seem challengingly long, but the strength of its ensemble cast and unusually evolving narrative results in a satisfying watch that’s reminiscent of tucking in with an engrossing book.

If it's all a little too crowded with characters, Branagh’s pacy direction keeps the story zip along to a conclusion that’s tense even if you remember whodunnit.

More time could have been spent developing the bond between the men, but ultimately this is quite gripping: a weepie bromance. You don’t see one of those every day.

Geostorm is a watery blend of Armageddon and 24, with enough action to entertain on a basic level. It’ll probably be most appealing to scientists looking for a good laugh.