Cath Clarke

The movie noodles along amiably, but in the cold light of day, its quirks begin to feel like flaws.

The problem with the film is that Potts’s life story has been put through the Hollywood meatgrinder. Awkward details have been changed or erased – they’ve made Potts Welsh (he grew up in Bristol) and eliminated his siblings.

A little of the intimacy is gone, and I have to admit to not being 100% sold on the cowboy-inflected songs, which feature quite a bit of dime-store sentimentality. But Springsteen is undoubtedly magnetic, his voice a honeyed growl.

In this heartfelt film, Fleifel shows us the human cost of the conflict.

The film is, I think, just as Cunningham would have wanted it: cerebral, highbrow and mildly frustrating, with nothing so conventional as talking heads or context.

It would be grating were it not for Kinnear, and some nicely performed supporting roles.

The comedy takes a bit of an IQ dip when the film crosses the Channel and the dialogue switches to English. Still, it glides along on Rutherford’s performance as Agathe – witty, warm, keenly observant, a bit clumsy and Bridget Jones-ish, but never, not even for a moment, cringy.

It’s a nail-biting story, but this doc isn’t as gripping as it should be.

This is a gentle-going watch, understated – underpowered even – and sometimes a little drowsy. Still, it has real sensitivity and insight into the transition to adulthood, as gradually it dawns on Nang that his parents don’t have all the answers.

Missing – and missed – are Matthew McConaughey as snake-hipped strip club owner Dallas and director Soderbergh, who gave the original its lived-in feel.

There’s plenty of white-knuckle footage from the archive, as well as reflections of old muckers. Fiennes says that in his darkest, diciest moments in peril he imagined his heroes – the father and grandfather he never met – watching over him.

There’s more wit and energy this time around, and a genuinely sweet message about friendship. Even the fart joke (every kids’ movie must have at least one) was a cut above and had the adults giggling.

It’s all very spectacular – but nothing much happens in the second half, and back on Earth, the movie’s message about loss and the power of letting go feels over-sweetened, more Disney than Disney.

You could just as easily picture this film playing on the white walls of a gallery as a cinema – if either were open.

Knepp is a heartwarming speck of biodiversity good news among the depressing headlines.

Here’s that Hollywood rarity – a sequel that’s better than the original. It’s wittier, less frenetic and introduces fresh characters and a nice scene of strategic furball vomming.

Their film pushes the limits of documentary filmmaking and will likely push the tolerance of viewers. This is a demanding watch, the arthouse cinema equivalent of the marshmallow experiment, testing the attention span of audiences.

It’s not reasonable to ask that the film keeps Tina safe, but a sense from the start that things might end badly for her made me wince a little even during the lovely, authentic-feeling scenes of her life.

It’s perhaps less fun than you might have hoped for, though Shatner is undoubtedly charismatic, and a pretty decent raconteur. He’s often entertaining, if not always necessarily in the way he intended.

A perfectly acceptable family animation.

It’s a handsome film, but in the end perhaps Wes Anderson’s pastiche approach in The Life Aquatic (in which Bill Murray’s character is a tribute to Cousteau) more vividly brought to life the era of the last great adventurer-superstars.

Like Restrepo, this troubling and thoughtful documentary asks tough questions.

This film really is a sunny delight as the weather turns cold.

It’s a film that may be a bit sugary for some tastes, but it’s made with real care and craft.

Some Like It Rare is a tasty treat for herbivores and carnivores alike.

The script gives us less about their emotional connection and to be honest, the will-they-won’t-they-stay-together drama is a bit of a snore. The best scenes are down the rugby club, portrayed with tremendous warmth as a happy-ish semi-dysfunctional family.

Strangely, this film keeps to the speed limit; it’s like Formula One with enhanced health and safety, slow-paced and a little low on adrenaline.

Brad Pitt pulls along this gutsy, old-fashioned World War II epic by the sheer brute force of his charisma.