Clarisse Loughrey

While Marcellus, an ageing octopus feeling stifled in his imprisonment, is meant to act as a spiritual mirror to Tova, the film ultimately isn’t all that interested in the more delicate work of making peace with what can’t be brought back.

It’s a bit much, to be frank. But at the time, the all-hands-aboard desire to take so absurd a premise and insist it be about something offers its Midsomer Murders-lite world a sense of weight and substance. The melodrama helps land the comedy. And there’s some real charm to be found here.

Rebuilding, instead, is a lovely rendering of what feels like half a story. It’s not the action its title promises, but the preceding moment of retreat to lick one’s wounds.

You, Me, & Tuscany is its own micro-miracle, a pure romcom where its protagonist isn’t jaded by romance, has no impulse to deconstruct the modern relationship, and isn’t forced through any preliminary Hinge date humiliation ritual. Here, all we need are two very charming and attractive people – Halle Bailey and Regé-Jean Page – and the soft, undulating hills of the Italian countryside.

Where in the public consciousness is the line drawn between thief and Robin Hood? Van Sant may ask the question, but his vision’s too narrow to answer it.

It’s not a matter of vengeance against the elite but survival. And Weaving bellows and grunts like a wounded creature trying to get the boot off their back.

The only problem with They Will Kill You is that it’s confused iconography with substance. It operates under the assumption that if it creates enough of a mystique around its protagonist – and there’s every trick in the book here, to the point it feels as if someone’s playing paddle ball with the camera – then everything else will fall neatly in line.

The Super Mario Galaxy Movie offers very little to audiences, young or old, who don’t already know these characters and spaces like the back of their hand. But, hey, if you take a tequila shot every time something explodes, you’ll have a great drinking game on your hands.

How to Make a Killing is too timid to either defend his actions or to render him genuinely unlikeable, leaving Becket as nothing but a formless pile of dough.

When the real shock occurs, it doesn’t feel cosmic so much as deliberate manipulation by a filmmaker’s hand. The rhythm feels off.

What’s worked before works here just as well. Tommy Shelby persists.

There’s a playfulness there, and a real burst of imaginative thinking, but Gyllenhaal has regrettably pulled a Frankenstein herself. All those ideas, yet they haven’t quite stitched up together to make a beautiful corpse.

As Good Luck, Have Fun, Don’t Die gets weirder and weirder, it only further provides the evidence of its own thesis.

It’s small in scope and may prove relatively minor in Cooper’s filmography. But, still, the intentions of Is This Thing On? feel worthy. Here’s a filmmaker fully invested in what divides the personal from the creative, and willing to look at it from all angles.

With Fraser as her figurehead, it’s certainly a work of broad and deep compassion. But there are self-imposed limitations that you’d wish Hikari and her co-writer Stephen Blahut would cross, if not purely out of curiosity.

Affleck and Damon, at least, try to pump a little crotchety humanity into their characters. But any hope of suspense, any genuine mystery over who (if anyone) is on the path of betrayal, is swiftly dashed by how poorly defined these suspects are.

The problem with this brand of Hollywood tale is that, by excessively romanticising their subjects, they diminish their humanity.

Paul Feig nods to ‘Rebecca’ and ‘Vertigo’ in this pulpy adaptation of the Freida McFadden bestseller, which has a secret weapon in the form of a quite brilliant Amanda Seyfried.

Fire and Ash, I’m sure, will find its place in the canon. But that doesn’t excuse its flaws.

I guess we should at least be thankful we’ve been spared the monstrosity of a CGI-rendered Judy Garland as Dorothy (that said, there is some extremely disconcerting use of de-ageing tech elsewhere). But, as those witches might say, one good deed hardly changes things for the better.

Day-Lewis, reliably, commands the whole piece, with that twinkle in his eye that spells either mischief or the inciting spark of an inferno.

While it pleads for us to reckon with the ugliest of truths, it shuts the curtains before its own reckoning is done.

The eerie prescience of Stephen King’s dystopian source material – written in 1972 and set, of all years, in 2025 – has been wiped from this bland reboot, which also seems to know it’s miscast its leading man.

Deliver Me from Nowhere’s Springsteen is untouchable and untethered – little more than a bundle of hurt feelings floating aimlessly across the Garden State.

Netflix’s The Woman in Cabin 10 is Agatha Christie for the age of mindless scrolling. It’s a murder mystery that only works if you’re not really paying attention, and are happy in the fact the characters on screen aren’t really either.

What lends Dead of Winter its evocative chill is the way all three women here – kidnapper, kidnapped, and rescuer – are left with nothing but themselves to rely on. There’s no one out here to care for or support them, turning survival into a daily matter of physical and psychological endurance.

Swiped is far more interested in convincing us that Bumble’s earned its feminist credentials than in exploring what being a “feminist company” actually means when there are billions of dollars on the table.

Kogonada neither wrote nor edited A Big Bold Beautiful Journey, and so we’re largely lacking in the sophistication department, or the soft musicality he’s been able to construct in his earlier films.