Cath Clarke

This is a gentle-going watch, understated – underpowered even – and sometimes a little drowsy. Still, it has real sensitivity and insight into the transition to adulthood, as gradually it dawns on Nang that his parents don’t have all the answers.

What first-time feature directors Alessio Rigo de Righi and Matteo Zoppis seem to be going for here is a Herzogian waking nightmare, but the necessary sense of horror and despair never fully comes off.

This is a film raised a fair few notches by the wonder of geekery, the absolute joy of seeing scientists living and breathing their work.

This is Tarantino for ankle-biters with a bit of Ocean’s 11 thrown in: funny, energetic and just smart enough.

Intense performances by Doupe and Bracken give it a real emotional pulse.

This is a decent, intelligent, well-acted film if a little uninspired until that third act, which packs an almighty punch.

It’s a delicate, thoughtful film, moving and real.

To me this feels like a silly smirking film with zero insights into abuse or conspiracy theories.

The question of whether this is a ghost story or if Laura is experiencing a kind of psychological breakdown twists and turns in ways that lost me by the end. Still, it’s is a very accomplished debut from Gregg, and acted with subtlety and sensitivity by Riseborough.

The trouble with the film is that beneath the surface lurks … well, perhaps not quite enough to keep the momentum going.

Deadwyler’s soulful performance really grounds The Devil to Pay even as it cranks into revenge-movie mode. That said, if you want a slice of grim Americana to hunker down with, I’d go with Winter’s Bone or Frozen River.

Part of the film’s genius is in how the images are put together, sometimes to absurd effect, at other times unnervingly.

The problem with Bruce Willis in the movie is that he’s not doing something that he is supposed to be doing: acting. He puts in a such a wooden performance playing a washed-up, burnt-out cop that I could have screamed in frustration.

Not even an impending apocalypse adds much in the way of urgency. Still, Boyega is very credible and at 29 he’s beginning to look like a leading man with real gravitational pull. Likely he’ll file this on his CV under misfire.

Home Alone meets The Lost Boys in this trashy half-way entertaining Christmas vampire movie from director Sean Nichols Lynch; it’s a black comedy with some silly splattery gore.

It’s a film of desperately upsetting details.

It’s a shame that after that killer start, this wimps out of saying anything interesting about death or the adventure on the other side.

This remarkable film feels like it could become a time capsule, showing future generations what it felt like in 2020 for those on the frontline.

It feels kid-gloves at times: big-hearted and entertaining, but possibly lacking a little fun or oomph. A lovely warming film, though.

It feels worthwhile – funny and true about growing up and getting a life.

The film catches the excitement of this moment for Clarice, and Dynevor’s performance is wonderful.

It’s an entertaining, uncontroversial film directed by the actor Sadie Frost, who pulls in her celeb mates to do talking-head duties: Vogue editor Edward Enninful, Kinks guitarist Dave Davies, and even interview-shy Kate Moss gives a quote or two.

The film is a parable about the dangers of blind faith in religion and authority, but it’s also warmly compassionate and accepting of human nature.

Often music documentaries feel padded out with filler but honestly I could have spent another hour in Copeland’s company.

Director David Verbeek’s script doesn’t quite wield the scalpel with enough sadistic glee. Instead, this film feels ever-so-slightly sluggish and dour in places.

It’s all very silly, with a few enjoyable moments.

The acting is daytime-soap standard and the tasteful, softcore sex is shot in such a way as to not look like actual sex. It’s unerotic, unsweaty and performed with expressionless faces. It feels like the film-makers know they have to do the sex bits, but don’t really want to actually do them.

Given the calibre of the voice cast, perhaps the biggest disappointment is how humourless the movie is.