Amil Niazi

Levack has done a remarkable job with her feature-film debut, playing with tropes that have time-honoured traditions but are always in need of a refresh.

Fans of stunning cinematography, thoughtful writing and pure, unadulterated emotional torture will find Close to be worthy of the Oscar nod.

From the very first scenes of the Canadian documentary Eternal Spring, you’re thrust into a thrilling, all-consuming film that challenges traditional documentary tropes and finds a way to tell a winding, difficult story with brilliant ease.

Luckily, Pugh is captivating as Alice, enriching this otherwise rote thriller with as much turmoil and betrayal as she can. Styles does his best to keep pace but it’s hardly a fair ask.

Bardem gives the kind of stately, anchoring performance that can just about make up for any shortcomings the film might otherwise face.

Pritz has managed to make this often abstract and far-away subject feel anything but removed. It’s urgent, desperate and terrifying and the words of the Uru-Eu-Wau-Wau ask us not to look away.

Happening is set in the sixties, but Diwan’s stark, unwavering direction, coupled with sparing costumes and cinematographer Laurent Tangy’s intimate lens, lend the film a sense of timelessness. The power of Happening is in the terrifying knowledge that Anne’s struggles could be happening to anyone, at any time.

It takes you on an emotional, uplifting journey across many countries and through civil unrest, with music ultimately winning out over dark forces that would otherwise challenge and limit free expression and art.

Featuring standout performances from Landry Jones and Davis, Nitram is uncomfortable, demanding viewing. It is the kind of work that presses on a nerve, begging you to stand up or tune out, but compelling you forward nonetheless – with its haunting portrayal of our all too boring capacity for inflicting pain.

With compelling performances from leads Amber Midthunder and Taylor Gray, it’s impossible not to be invested in where they end up.

It’s a shame that both Umair Aleem’s script and Cedric Nicolas-Troyan’s (The Huntsman: Winter’s War) direction ultimately feel rote because both Winstead and Martineau’s performances are fun to watch. Their playful, natural chemistry keeps the film from dragging on and lends a necessary levity and wit to the movie’s 106 minutes.

Despite some clever, winking nods to the original, including appearances by Cook herself and Matthew Lillard, He’s All That fails to deliver on what She’s All That did so well: a sweet, lighthearted romance that hinges on the chemistry between its two leads.

Despite the heavy material, the film manages to imbue the story with heart and even breakthrough moments of joy.

Even those familiar with the legacy of the show will discover new and fascinating things about the history of Sesame Street throughout the film – and anyone who watches Street Gang will come away moved by everything its cast and crew managed to accomplish.

It’s ultimately difficult to wade through the muddled plot line, or plot lines, rather, as there are so many disparate storylines contending for top billing in this movie.

Drifting Snow is almost a tribute to what the past year has been for so many of us, fumbling our way toward something less lonely and waiting for the snow to pass.

Sugar Daddy will be gripping viewing for anyone who wonders what it takes to make it – and whether it’s all worth it in the end.