Benjamin Lee

There’s fun to be had here, thanks to Moss and an involving set-up, and given the state of multiplex horror, especially at this time of year, this is a striking diversion. But Whannell gives us just enough to make us want more and despite the stretched 125-minute runtime, he can’t quite deliver what he loosely promises.

It’s so punishingly dull to watch, filled with dry, perfunctory dialogue from Stacey Menear’s consistently uninventive script and shot without even a glimmer of style, that even at a brisk 86 minutes, it feels like unending torture.

It’s a bruising movie, being sold on the promise that it’s “scary as hell”, a quote that I worry will mislead expectant horror fans. The scariest thing about The Lodge is how human it all is.

It’s a difficult, often quite brutal, viewing experience, as it needs to be given the subject matter, not only because of the fractured storytelling but because of the devastating lead performance from Hopkins.

Chung’s nuanced portrait of a family figuring out their place in the world is both small and somehow rather grand.

The Last Thing He Wanted is a thing that no one wanted.

It’s elegantly constructed and precisely composed, with Durkin painstakingly recreating an era without falling into nostalgic overload. But it’s also a drama about a family that keeps us at a distance for the most part.

It’s all so human and messy and it’s refreshing to see a director that doesn’t shy away from such complexity with Colangelo crafting a film that’s every bit as nuanced as the subject at hand.

There’s a lived-in chemistry that’s missing from the pairing and the film’s great many awkward moments between them don’t feel quite as cutting or as uncomfortable as they should. It’s a dark comedy that feels too light.

There’s a lot here to digest, a bitter cocktail with many confounding flavours and its abrasiveness will prove tough-going for some, especially those in search of a more polite and familiarly structured literary biopic. But for those willing to sink into the depths with Shirley, it’s a delicious journey down.

There’s a whiff of familiarity haunting almost every scene and while it would have been rewarding to see Cooke and O’Conner take a few chances or add some more emotional depth, it’s a satisfying enough watch, best viewed with little investment and low expectations.

The Twitter-to-screen adaptation of Zola is as scrappy and imperfect as the original story but just as likable. There’s something unusually compelling about what Bravo does with the material that makes up for its missteps.

It’s brand management dressed up as insight and while it’s not not entertaining, it’s certainly far from particularly revealing, playing more like a PR exercise then a festival-worthy feature.

It’s ultimately a miracle that despite the tortured production process, Dolittle can most generously be described as passable for young, undiscerning viewers. It won’t charm or amuse you particularly but it’s not a catastrophe, the highest praise I can muster.

What frustrates me most about Underwater is just how very little it brings to the table. It’s a solid, competently directed regurgitation of an oft-told tale that never manages to justify its own existence

It’s an unwieldy and messy thing, drearily directed and boringly written, taking its agenda seriously yet not providing a robust enough framework to surround it.

It’s a film with something to say but it’s not all that good at saying it.

It’s a given that Hanks will nab at least a best supporting actor nomination but it would be all too easy to forget his co-star. The cynic-becomes-a-believer arc is age old but it unfolds here without cliche thanks to an emotionally intelligent script from Noah Harpster and Micah Fitzerman-Blue, but mainly because of a marvelous, prickly turn from Rhys.

Lady and the Tramp works well enough on its own simple terms as watchable, competently made home viewing.

There’s intermittent fun to be had in this throwaway relaunch of the female secret agent franchise but the party is cut short by incoherent action and a clunky script.

Let It Snow is a prime example of what happens when the Netflix algorithm machine spews out something that actually feels like a real movie. It ticks all the right buzzword boxes for the platform (YA, Christmas, romcom, cast filled with recognisable faces) but does so with such ebullience that you’ll fail to notice, or at least care about, the many strings being pulled throughout.

It might look the part, with the director Paul Feig successfully capturing the glossy, tourist-friendly London one would crave from such a film, but the script feels like a rejected first draft with unfunny filler one-liners and a scrappy, ill-thought through narrative. It’s a beautifully wrapped Christmas gift that’s filled with rotten turkey leftovers.

Rather than screaming for them to go the other way, you'll be urging them to accept fate and die instead.

As dated as its slow-mo zombie-killing opening credits, at times Zombieland: Double Tap feels like it was made directly after the original yet carelessly forgotten about. It’s rushed and dusty, a film more belonging on Crackle than the big screen, more expensively budgeted than the first yet mostly creatively bankrupt.

The film is just a machine, slick but soulless and with parts in need of a touch-up. Not broken exactly, but more, ahem, fractured.

While some of the nastier lurches in the third act will appease genre fans, the guff that surrounds them will probably confuse and ultimately alienate them, the film’s moving parts never really moving in unison.

There’s an almost meta-maturity, as if Scorsese is also looking back on his own career, the film leaving us with a haunting reminder not to glamorise violent men and the wreckage they leave behind.

There’s little room to breathe in writer-director Chinonye Chukwu’s constricting, devastating drama Clemency, an intentionally airless film processing a tough subject through an unusual viewpoint.