Francesca Steele

The Bear’s Jeremy Allen White plays Springsteen in a performance that hits all the right beats, including some enjoyably sweaty, raspy musical set pieces (White sings the numbers himself), without ever elevating the role to anything greater.

I’m not convinced that the heavy violence is entirely warranted, but the whole thing is at least unfailingly kitsch, and when the storylines merge they do so seamlessly.

It’s a film that could do with a little more feeling overall – and more fury, too.

This hybrid never feels quite cohesive enough, the pace somehow both rushed and yet too slow. One feels Vanderbilt’s panic at the enormity of the topic. That’s not to say there isn’t a lot to admire.

Goodbye June is preoccupied with sentiment in a way that might feel great for a two-minute Christmas ad, but just doesn’t work for an entire film. Still, Winslet is a confident director and Anders has an eye for relationships.

To enjoy Rumours you will have to accept that despite its opening, its aim is not The Thick Of It-style political skewering, but rather bonkers, absurdist nihilism. In the apocalypse, it turns out, nothing means much at all.

It fails to offer anything new and lacks the original’s fearless spirit. It’s not a dud, just a muted version of its forerunner, getting you where you want to go, just with less wind in its sails.

H is for Hawk wants desperately to make you feel the raw blankness of grief and the healing power of nature, but in the end feels more like a kids’ wildlife documentary: beautiful but bloodless.

I salute Gunn, who was poached from Marvel, for trying to infuse this reboot with humour and vitality, dragging it out of a gloom that no longer suits viewers plagued by enough real-world problems.

Song Sung Blue’s best moments are when it focuses on its beautifully ordinary love story.

The film never rises above its clichés.

It is, indeed, exceedingly tasteful, but without any narrative oomph, and some problematic characterisation to boot.

All the entertaining villainy has the effect of making Andy’s quest – to shape her new role as Runway’s features editor into something truly worthwhile – look even duller, and her romance with nice-guy Peter (Patrick Brammall from Colin from Accounts) completely pointless.

The film feels limp, palpably too dependent on its source to emerge as its own thing. To convey the messages it wants to convey, it needed to work much harder to be more than just a pretty painting.

The script for unconventional romantic comedy A Big Bold Beautiful Journey spent some time on Hollywood’s Black List, where well-liked but not yet picked up screenplays sometimes linger for years. It’s a shame it didn’t just stay there.