Andrew Pulver

It’s a pleasant enough watch, listening in as these various acts grapple with whichever Bolan masterwork they’ve opted to try – though there’s not much in the way of on-screen fireworks on show, and in any case the film doesn’t get to linger on any single performance; you’ve barely got to grips with one song before it’s off to another.

Here’s a fascinating time-capsule of a documentary about an admittedly niche-interest band who achieved their most valuable cultural currency during the politically-charged 1980s, and who achieved a subsequent second act that achieves considerable emotional heft.

As with most great football stories, there is a tale of redemption underlying all this; you can’t say it isn’t fully deserved.

This film is a capable, wholesome tribute to a project that is about as warm and fuzzy as space travel gets.

This film (and Liggett) is likable and charming enough.

Director-producer team David Bickerstaff and Phil Grabsky are past masters at putting this kind of film together, and Sunflowers has the usual mix of smoothly impressive visuals and authoritatively informed comment.

This is a documentary about Australian motor sports legend Jack Brabham that aims to finesse the usual greatest-hits highlights by including some darker material: family strife, on-track bad behaviour, behind-the-scenes fallouts.

An illuminating, affecting piece of work.

After a somewhat breathless opening section – yes, we get it, Pierre Cardin was a genius – this genuflecting documentary settles down into a watchable portrait of the late fashion designer that astutely showcases Cardin’s ease in front of the camera.

There’s no denying Zappa’s personal charisma and devotion to his cause, nor his articulacy in its service. Winter has created a fascinating watch.

This valedictory film allows sober recognition for all that he did.

An interesting, grown-up musical profile.

In the end, the film operates best as an act of ancestor-worship to an extraordinary musician whose best days – we are forced to sadly conclude – appear to be behind him.

This is a charming and thoroughly likable film.

Thomas and Pilcher are determined to avoid making a flashy war epic, and stress the sacrifices of everyone involved; the downside of this is that A Call to Spy has a stolid pacing that makes you feel every minute of its two-hours-plus running time. But it’s still an interesting story that’s yet to fully come into the light.

Crispian Mills directs with zip, throwing things together with a breathlessness that largely distracts from the fact that, for a horror-comedy, Slaughterhouse Rulez is neither particularly scary nor especially funny. But it does have an amiable sort of charm.

Despicable Me 3 will certainly keep the younger elements of its audience happy, with its dose of aspartame-rush hyperactivity. But for everyone else it may prove decent rather than captivating.

It comes across as twee, comfy-cardigan film-making. And, Eddie Izzard’s best efforts notwithstanding, it simply isn’t very funny.

In the end, it’s Lowden’s fresh-faced enthusiasm and Mullan’s gravitas – operating at about a quarter of the level we know he’s capable of – keeping things afloat.

Brimstone is hampered somewhat by its ponderous, doom-laden pace, and resultant bloated running time, but remains an intriguing slant on the spaghetti western.

Filmed with competence rather than actual verve, Alone in Berlin works – just about. There’s enough of a thriller about it to hold the interest, even if it’s a bit on the stodgy side.

It’s not exactly hard-hitting stuff, and isn’t meant to be, but it spins an entertaining yarn.

Stalking tactics bolstering romantic comedies are by no means new, and over the decades, film-makers have proved adept at somehow planing down real-world nastiness, but here it’s gruesomely inescapable.

Here is a sensitive, intelligent portrait of film director Howard Brookner.

In all honesty The Untamed doesn’t seem to go anywhere special. But connoisseurs of oddness may cherish it.

Voyage of Time, in the end, is a perhaps an aesthetic experience rather than an particularly informative one, prizing images over data; but what images they are.

The film doesn’t quite live up to its creepy, savage opening, or carry through its best ideas.

It’s an impressive spectacle, if not a happy one.