Fionnuala Halligan

Walk With Me is a slip of a film, at turns worthy and profound, yet also soporific and uneventful, an occupational hazard of spending three years embedded in a Zen community, no doubt.

Preposterous, nonsensical, but fun nonetheless, Unbroken frustrates as much as it entertains.

Tramps is a good-natured little film.

It’s all glossily camped-up nonsense with an amusingly inappropriate title, but luridly – and ludicrously – entertaining nonetheless.

Connery extends the film’s appeal with enjoyable sequences depicting how the game was run back then – extravagantly be-whiskered golfers would push and shove their way around the course, casually moving balls while being followed by unruly, whisky-swilling crowds.

Editing is clearly complex given the variable footage, but each emergency call and every character is successfully individualised and identifiable, and several arcs snap into the overall narrative drive.

While Schwarzenegger is solid – almost literally, his face like granite and his movements stiff – and McNairy is completely committed in this tragic two-hander, Lester’s film is resolutely one-note.

Jon Nguyen’s carefully-calibrated ode to Lynch is in itself Lynchian, an essential picture for the director’s legion of fans.

All This Panic has a refreshingly light touch. These girls can make heavy weather of routine situations yet shoulder enormous responsibilities with grace and good humour.

I, Olga Hepnarova struggles with its difficult central character, always spiky and occasionally psychotic but never really as intriguing as the filmmakers clearly believe.

Even if it tells the age-old story of the filthy rich getting richer and the poor going nowhere, Betting on Zero is still rather shocking.

Phillips’ collaborators work in harmony with the natural, nuanced acting; credits across the board are stylish and smooth, with lensing a standout. Also of particular note is the design; a rich, forest-driven colour saturation which suits the hooded houses and shadowy driveways of these traumatised teens.

Childhood is a mystery we endlessly come back to and a place the Leydens have never fully left; Ní Chianáin gives the viewer an intimate view of it in this unusual little story.

More than a quarter of a century later, Beauty and the Beast enchants again as a swirling blend of live-action story, stage, screen and sheer, rococo-spun fantasy.

The film is called, and certainly contains, cries from Syria but in itself Afineevsky’s documentary is more of a shout, a piercing scream.

If the film belongs to anyone, it’s creature designer Carlos Huante. Kong is expressive and impressive, both in hair and full-body movement, and his interaction – with water, humans, other animals – is consistently fluid.

Crowds will be pleased, tears will be shed and audiences should rally to the passion and drama onscreen. The stakes are high in Step.

The film is visually arresting, but narratively stale.

Some zinging dialogue and pungent photography are complemented by the two young leads and the late Anton Yelchin in support.

Debut director Geremy Jasper has said Patti is part-modelled on his own life, and there’s a real empathy on display here for her internal and external struggles, a gift which Mcdonald makes the most of in her own debut.

Lee’s love for this hard land and the boy trapped in it – so fully embodied by young British actor Josh O’Connor – is unexpectedly moving and rich.

Sad, proud, loud, funny, energetic and affecting, Kiki the documentary reflects accurately the spirit of kiki, the scene.

Soft and sweet, Kirsten Tan’s bright and airy debut is also quietly eloquent, speaking of a loss and regret.

Wind River can be thrilling and it owns the ability to surprise and shock throughout.

It’s a beautiful, supremely touching performance from Chalamet which gives this surprisingly safe story its moving purity.

All of The Big Sick’s power has gone into its script and performances.

There are touching moments...that could only have come from real life, and the film is all the better for them.

These troubled, lovable, prickly, obsessive entertainers, supported by brother-son Todd, invite the viewer into their rackety lives – bright, lived fully in the spotlight, chin-up and completely unsinkable.