Fionnuala Halligan

An almost unbearably-tense, no-holds-barred drive through the nightmare of domestic terrorism, Custody is a can’t-look-away hybrid of gruelling reality and heightened cinematic technique. The mix is jarring, as intended, and this wrenching, heart-stopping film illustrates domestic violence and obsession in a way that makes the fear real.

[A] clearly well-intentioned, attractive, wistful-to-the-point-of-inertia film.

Choe has taken a slim scenario and used to touch on universal themes and thoughts of escape and second chances in life.

Cole, best known for a supporting role in the TV series Peaky Blinders, gives everything to this role. It’s a physical transformation in which he convincingly plays a beaten, battered-to-a-pulp boxer who learns the rules of Muay Thai, but also a deep internal reach to deliver a complex, defiantly self-sabotaging character with depth of understanding.

While it’s a consistently entertaining and often poignant film which addresses a wide range of issues under the stealth cover of humour, I, Tonya also gives Robbie the chance – her first, really – to show her full range as an actress. And she shines.

Loveling relies on the charm of its chaotic central family (an overweight son who insists on carrying a giant tuba around with him, for example) and the warmth of Teles to seduce and dazzle audiences into submission.

Where some see coincidence, Wardle finds a true-life conspiracy, and pursues it all the way to conclusion after gripping conclusion.

As the story of the mysterious Cordona plays out, the persuasive personalities of the three women both then and now strike a chord.

Wilde’s mighty struggle with himself, with his heavenly talent and earthly lusts, and the meaning of it all resonates so strongly with the direction and performance that The Happy Prince is easily elevated past period Victoriana (and that wallpaper) to move and engage in equal parts.

With a terse 85-minute running time, The Guilty illustrates Möller’s confidence with the craft of film-making.

This story of a homesick college freshman, played affectingly by Raiff himself, doesn’t break any new ground - it doesn’t even try - but his film is still an appealing charmer.