Adam White

What is meaningful, I suppose, is that you never once stop thinking about Hutchins while watching Rust, nor the shoddy work environment that led to her death. . . But this is a very hollow, very dark victory.

The latest Marvel blockbuster – starring Anthony Mackie and Harrison Ford – has drawn backlash from all political corners. But a film this bland and flavourless doesn’t warrant such handwringing.

In a crowded field of dour horror, it’s a relief to find something so knowingly silly.

As Fingernails goes on, though, it never transcends its leading questions. Instead it maintains a quiet simmer.

Hushed glances between estranged friends give way to maximalist drama and heavy-handed symbolism, as if the everyday horror of growing up needs literal horror to be cinematic.

Causeway has two incredibly gifted performers at its centre, and knows they’re who you want to see.

Bros lumbers when it should glide, lectures when it should joke. Wherever you fall on the Kinsey scale, you’ll probably find it a miserable experience.

The Bubble’s script is credited to Apatow and Team America co-writer Pam Brady, and there are occasional flashes of barbed, satirical wit here. Generally, though, The Bubble resembles a flutter of loose ideas, to which a vast ensemble of reliably funny actors have been tasked with adding colour.

In its earliest stages, Turning Red is bracingly different, and filled with an earnest warmth when it comes to themes of girlhood and the panic-inducing weirdness of the human body. That it becomes a loud and action-driven spectacle seems disappointingly inevitable for a Disney film.

In an era in which many of Lopez’s romcom peers – namely the Witherspoons and the Bullocks – have pivoted to dark dramas, it’s lovely to see her still banging the drum for a genre that’s never earned the respect it’s deserved. Then again, she knows what that feels like.

It is a tender, sprawling drama that feels less inert than its predecessor and far more compelling.

The film is bawdy and wistful, with a rich vein of melancholy running through it.

It’s fitfully moving – a monologue in which Finch recalls witnessing the worst of human behaviour and doing nothing about it is powerful – but there’s often a sense of a darker, less gentle film aching to get out from beneath the sop.