Cath Clarke

Making her feature-film debut, Elliott handles their story gently, with patience – though it might feel a bit slow for some.

[An] affectionate, nostalgic documentary.

It’s a striking, ambitious film, but there is something about the tone – both glossy and grittily real, stylising everything to mythic proportions – that left me a bit cold.

Miller is at the heart of the film; her natural and believable performance touches so many emotions, and makes them all look so real.

The real chemistry here is with the four-legged ass, not the human one.

The film is a surprisingly gentle, touching story about acceptance, though it is less than sizzling as a romance.

The film is expertly bolted together from archive newsreels, snippets of classic war movies and interviews with surviving airmen.

What marks out director Mike Newell and writer David Nicholls’s version is its impeccable acting.

The conceit is nicely done, and the film’s unexpectedly heartfelt message about empathy and looking at the world through someone else’s eyes just about makes up for its bland animation, smart-arsed script and generic clappy-blah songs.

It’s an entertaining, uncontroversial film directed by the actor Sadie Frost, who pulls in her celeb mates to do talking-head duties: Vogue editor Edward Enninful, Kinks guitarist Dave Davies, and even interview-shy Kate Moss gives a quote or two.

Director Daryl Goodrich has access to all the right people, and his footage is nicely chosen, but ‘Ferrari’ is unlikely to convert non-petrolheads.

The Persian Version feels a bit soft focus some of the time, but it takes on real depth and force when the action hops further back, to 1960s Iran, where Shireen is a 13-year-old girl (now played by Kamand Shafieisabet).

The film catches the excitement of this moment for Clarice, and Dynevor’s performance is wonderful.

It feels worthwhile – funny and true about growing up and getting a life.

This is a sweet, fuzzy movie, possibly a little soft-hearted. Still, I dare anyone to watch the final moments without a lump in the throat.

At times, there is something almost spoofy about this film’s relentless miserableness. Its 30-minute long hallucinatory dream sequence didn’t work for me – it might be that you need a degree in Russian history to make sense of its allegory on the nature of power.

Sigurðsson is no misanthrope and his humane message – that everyone is muddling along as best they can – makes all the feuding and bile easier to stomach. Some may prefer a little more bite.

If you’re a parent whose screen-time rules have crumbled in lockdown, under no circumstances watch this film until normal service resumes.

Here’s a true story about a young soldier’s exceptional bravery and sacrifice made into a pretty average war movie, insubstantial and TV-ish despite the appearance of some decorated Hollywood veterans.

At times, it feels hopeless. But eventually the victories come, sometimes from unlikely quarters.

The film can’t match the novel’s elegant, startlingly excellent Booker-Prize-winning writing, but a first-class cast (including Charlotte Rampling and Sinéad Cusack) make this an absorbing watch.

If you’re looking for a definitive Dalai Lama documentary, this narrow-focus film about his lifelong passion for science probably won’t cut it.

Imagine Game of Thrones crossed with Gladiator and you’ll have something like this entertainingly old fashioned action movie with epic levels of throat slashing, spectacular scenery and a fair bit of camp.

Both Kerr and Burchill come across as unpretentious, down to earth and likable.

An intriguing, somewhat abstract drama about a country descending into chaos.

The movie is about how people ruin everything with their destructiveness, but also about the beauty of the human heart. It’s so inventive and imaginative that I wanted to love it more, but in the end found it a little bit psychologically uninvolving, perhaps because of its nonstop swirl of ideas and stories.

Director Lance Oppenheim takes a gentle approach, capturing some hilarious moments, but there’s nothing patronising or mean-spirited about his film.

It’s watchable, but don’t expect your mind to be blown – more gently prodded.