Ed Potton

Malek is excellent as Jimmy George, an actor and singer in Eighties New York who is starring in a musical revue, as is Tim Sturridge (The Sandman) as Jimmy’s loyal boyfriend and nurse.

The result feels like a Gabriel García Márquez novel with a rocket under its bum.

[Claire's] social circle seems to consist entirely of vapid, annoying thirtysomethings swanning around doing nothing of any value. The problem is that the film, directed by the Spaniard Maria Martínez Bayona, feels equally aimless.

Coward is sweetly played and elegantly mounted but there’s little here that really surprises.

At heart, though, this is just a suspense movie with some decent twists and an excellent turn from Tawba El Gharchi as Ida, Thomas and Nora’s fiery young daughter.

Like many films at the festival this year The Dreamed Adventure is too long, but a running time of almost three hours does let you get under the skin of Veska, played with grit, soul and wit by Yana Radeva.

The film is cooler emotionally than Almodóvar’s early work but full of wit and self-awareness.

The film is very much a paper tiger — what feels at first like a prestige production is ultimately toothless and unconvincing.

Concert films are often an underwhelming proxy for a fine night out, but Cameron’s technical virtuosity and storytelling verve bring the whole shebang to life — as does shooting in 3D. I’m no Eilish superfan, but I enjoyed it a lot more than the last Avatar flick.

Boon’s already considerable charisma is somehow magnified by Tommy’s incarceration and Graham and Riseborough prove yet again that they can find humanity in even the most disturbing characters. Please let this not be their last joint project.

This is a celebration of the King doing what he did best, and loving every second.

Like the man, this film isn’t sentimental but gosh, it packs a punch.

Skarsgard and Reinsve are excellent as two damaged people who are only able to open up when they’re working, but you yearn for the film itself to open up. It’s an intriguing premise, stylishly executed but sometimes lacking a bit of heart.

You really could not make any of this up.

The screaming and shouting eventually detract from the drama, although perhaps Panahi is making a point about the hysteria of Iran’s rulers. He is certainly making a point about the traumatising effects of their cruelty, with which he is intimately familiar.

Despite the game involvement of actors as fine as Damian Lewis, Katherine Waterston, Thomasin McKenzie and Anna Maxwell Martin, this Downton Abbey spoof is often aggressively unfunny.

Perhaps most delightful, though, are the carefully drawn supporting characters, with welcome returns for Flash the sloth and Maurice LaMarche, the Vito Corleone-esque arctic shrew. Truly an offer you can’t refuse.

[A] warm and hilarious comedy drama.

A suitably shiver-inducing farewell to the Warrens.

This film isn’t particularly new or original but it’s just like its predecessors, which is more than enough.

Like the original movie, this isn’t super funny, unless burping, farting and people being hit in the groin with golf balls is your thing.

It’s when they return to Earth-828 that the film reverts to type: enervating action, platitudinous script, predictable ending.

The sense of hallucinogenic sweatiness won’t be to everyone’s taste but [Garland] and Boyle should be applauded for taking such big swings and having the flair and confidence to pull them off. It’s an astonishing piece of work.

Howard makes a fine straightwoman, however, in a film powered by the gaucheness of Mohammed and the ridiculousness of Bloom.

It’s a decent film about an underexplored subject and adequately acted by a cast of inexperienced unknowns, but nothing we haven’t seen before from the determinedly low-key Dardennes.

It doesn’t hang together as well as its predecessor, Drive-Away Dolls, it still offers some throwaway wickedness.

This being Reichardt, white-knuckle thrills were unlikely to be on the menu either, but you would have hoped for something to engage with beyond a vague hum of disappointment.

Roustayi handles the change of gear impeccably, though, balancing extreme events with layered characterisation.