Cath Clarke

It is a poignant set-up but, disappointingly, Okada’s ideas about motherhood don’t cut as deep as they could.

Cummings presents us with a guy whose heart is in the right place – he just can’t control himself. But, like me, others may find their tolerance for a clueless white man’s anger issues has maxed out.

This isn’t meant unkindly, but Vice Is Broke will be essential viewing for anybody who ever worked there, with its details about who had what job title and when.

There is without a doubt something uncanny, almost seance-like, in the way Canadian film-maker Kyle Edward Ball evokes childhood fear of the dark.

Pacino gives his most natural performance in years.

It’s a political thriller that tells the story matter-of-factly, and is perhaps a little lacking in the pace department. But Isabelle Huppert carries it along with a performance every bit as gripping as you’d expect.

None of the young stars shine as John Boyega did in ATB, but this movie is sentimental in all the right places, and impossible to dislike.

Trolls is not break-the-mould brilliant like The Lego Movie or Toy Story, or a keeper like Frozen. But it’s a lovable and giddy guilty pleasure.

Ben Hozie makes his feature debut with this semi-insightful, uncomfortably funny indie drama about a man who becomes obsessed with an online sex worker. It’s a film with a slackerish mumblecore vibe, and Hozie is refreshingly grown up about sex. But it’s hard to see how his film adds much to the conversation about intimacy in the internet age.

There are some gorgeous comic touches.

The original delivered some big laughs, scenes that were an absolute joy. This is less good-natured; it is a film with streak of misanthropy, more likely to leave a sour taste in the mouth than a smile on your face.

Bale is as good as it gets, Harrelson shows us why he is Hollywood’s favourite psycho and Willem Dafoe is terrific as a sleazy drug dealer. The rest of the film is without a bat squeak of authenticity.

McKellen occasionally slips into the part of twinkly super-cool gay uncle that he tends to play in interviews these days. But mostly he’s thoughtful and self-reflective (and not at all gossipy about his theatrical chums, disappointingly).

[An] informative documentary.

If gym buff Henry Cavill really is quitting the role in the movies, as has been rumoured, the film-makers could do worse than to follow the direction here, opening a vacancy for a skinny, long-haired Superman with an earnest hipstery vibe that screams Adam Driver.

The tension leaks away in the second half; the film could have done with being snipped by a good 20 minutes.

Kevin Macdonald’s slightly drab adaptation of Meg Rosoff’s popular teen novel would be nothing without Saoirse Ronan.

The film is fun, but, for all its inventiveness, it’s a bit tame, with its nice-but-dim hero. But Diamantino is never dull.

Entertaining but never quite thrilling, this actually feels like the second film in a franchise, coasting along, but saving the best bits for the next episode.

The film’s Groundhog Day-meets-Independence Day plot is actually pretty genius.

At points I wondered if this is a film that tells us anything about anything. Some of its ideas feel a bit thrown together.

It’s a bit indulgent but, still, a gentle watch.

Mandico has made a wildly strange debut, striking enough to make you sit up and pay attention.

The film is a reminder of just what a brilliant writer Bourdain was.

The more the movie explains, the less powerful it becomes – ending with a Shining-like finale in the snow that for me was a letdown.

Intense performances by Doupe and Bracken give it a real emotional pulse.

It’s refreshing to see a movie like this directed by a woman, Eva Husson, so boys and girls are objectified equally. Which is not to say this passes the feminism test.

There is a message here about celebrating differences, which would be a bit more convincing if they’d cast a smaller actor in the role – instead of using distracting CG effects on Dujardin.