Amber Wilkinson

Letting yourself be loved is not exactly an original message, but here it’s the comedy that counts and Schlesinger is generous with her script, giving even minor characters their fair share of jokes.

This is an impressively clear-eyed and deeply moving portrait.

Throughout the film, three things stand out: the love between Rushdie and Griffiths; the resilience they had in the face of his catastrophic injuries; and the author’s humanistic attitude and sly sense of humour, which have categorically survived intact.

Hadi has an eye for detail, echoes and lyrical touches.

Marczak’s film becomes not just a document of a hunt but a psychological portrait of loss and a family’s attempts to come to terms with that.

[Teng] certainly succeeds in creating an impassioned triple profile of the men who are, if anything, increasingly determined to make a difference for the civilians and medics of Gaza, while viscerally bringing home the extent of the brutal tragedy on the ground.

Non-professional Sangare is magnetic throughout, whether on the saddle or an interview hot seat.

Allen-Miller achieves the Holy Grail of all great rom-coms in making us desperate to see the pair get together for good, while simultaneously not wanting this first flush of romance to end.

While Holofcener doesn’t ultimately dispute that it’s nice to be nice, she does suggest that it’s worth remembering constant positivity has its own negatives.

While not seeking to paint all Russians as ‘victims’ and explicitly acknowledging the situation is far worse for Ukranians, Talankin’s footage comes as a reminder of children as the innocent victims of war.

As with a lot of first-time feature filmmakers, Smith shows a tendency to want to throw everything a her film stylistically – including, at one point, the random use of bright yellow subtitles – which makes certain sections feel unnecessarily skittish.

It’s not just the structure of the film that is clever, Sweeney varies his joke delivery, so that there is a mix of one-liners and more slow-burn humour alongside a raft of sight gags.

The script holds plenty of satire and laugh out loud moments, but Wilson and Huston keep it supple enough to bend protectively around the central love story, while allowing the morality tale element to still have bite.

The winning performances and Haapasalo’s careful attention to them help to compensate for the sometimes frustratingly fragmented nature of the storytelling.

While audiences will probably expect to laugh, they may be surprised to find themselves shedding a tear or two as well.

McBaine and Moss offer a celebration of the young women attendees alongside a consideration of the everyday sexism many encounter.

Klein has a strong grasp on all of the material, and editors Jake Keen and Alexander J Goldstein cut it together it carefully so that the past and the present often meet.

Instead of treating the star’s life chronologically, they move between a consideration of his career and his spinal injury advocacy work in the wake of the devastating 1995 horse-riding accident that left him paralysed from the neck down. The result has the engaging feel of a dialogue between the pre- and post-accident Reeve and his family as his views and his life shifted as a consequence.

This heartfelt if, at times, slightly uneven drama marks the debut fiction feature from documentarian Roger Ross Williams and is a warm and celebratory film.

[An] absorbing and eye-opening, if somewhat dense, documentary.

Their improvisation has been honed to the point where the jokes land solidly without losing naturalism.

Frida is not just a broad brush affair; the artist is noticeably present.

A distant lightning storm indicates nature is a force to be reckoned with but in Walker-Silverman’s films the energy of empathetic human nature is shown to be just as powerful.

Johnson and co-writer Mark Heyman may be exploring familiar territory but they do so with a warmth, subtlety and honesty that marks it out.

While Will and Harper’s friendship gives the film its strongly beating heart, the casual reactions of strangers often also prove to be moving.

Unkovski’s film may be singing from a familiar hymn sheet, but he makes that part of its charm.

The subject is an important one but would benefit from a shorter running time.

Oldroyd attacks with a pace that makes his plot twists more shocking and shows an economy that harks back to the golden age of noir.