Hannah Strong

But while The Fall Guy is an affectionate and occasionally entertaining tribute to the people professionally flipping cars and taking punches, it neglects the other crucial aspects of what makes a film enjoyable, resulting in a popcorn flick that quickly fades from the memory once the credits roll, sadly lacking the staying power of any of the action greats it references.

The film is fun. It’s smart and sexy and engaging.

Despite its myopic politics, it’s hard to deny that Civil War is an engrossing film. The performances given by the central cast are quite remarkable, with Moura and Dunst operating as foils and McKinley Henderson providing his characteristic brand of steely gravitas (he also delivers one of the film’s best moments).

Despite the best efforts of DoP Elisha Christian to create a striking visual identity, the film ultimately brings little to well-trodden cinematic ground, even in its hell-for-leather finale.

Road House’s limp, jokeless dialogue leaves the viewer plenty of time to consider how lazy the whole affair feels.

Renck’s film floats along with a unique grace, reckoning with the weight of paternal legacy and human folly with sincerity, achieving something quite profound in the process.

Perfect Days encourages a sort of radical presentness in our own lives – learning how to truly connect with our existence, even when it’s difficult or causes us to confront unpleasant truths.

There’s just something gratingly cheap about the affair, from script to cinematography to performances, as if no one involved wanted to be there.

It’s a realistic, sensitive but never cloying call for kindness and empathy – something that shouldn’t feel novel in this day and age, but sadly does – and encourages viewers to reconsider how they view fatness, and in turn, fat bodies.

While this version of events is perhaps not as accurate, its emotional honesty and narrative sincerity is unquestionable. It’s an incredibly heavy and sobering film, but one that has been made in the spirit of paying tribute to the Von Erich boys.

To Vaughn’s credit, at least Argylle isn’t as gleefully misogynistic as the Kingsman films, but that’s a bit like saying “Well, at least the pigeon shit didn’t get in my mouth” after a pigeon has shat on your face.

The Zone of Interest seems to welcome division in its responses – such a bold, horrifyingly eerie work serves as a catalyst as much as an artistic statement.

It’s a ghost story, but it’s a love story too. One that will break your heart.

The result is a teen movie with an identity crisis.

What we have is a generic addition to an already oversaturated genre – one that doesn’t even have the sense to make use of Statham’s often underutilised comedic talents.

There’s just nothing here to cement The Boys in the Boat as anything other than a sort of interesting story made in a competent but uncomplicated manner.

The real beauty of Priscilla is its delicate portrayal of the all-consuming fire and flood of first love, and what happens when you grow up, and begin to realise the fairytale doesn’t always have a happy ending.

What begins as a genuinely entertaining and well-pitched dramedy quickly becomes ridiculous and out of touch.

This is by far Haynes’ funniest film to date, with shades of Almodóvar in its dramatic zooms and heightened domestic tension.

As entertainment Napoleon delivers without glorifying his military record or painting the man as a hero. It’s a story about power, obsession and exploitation – which arguably is the story of history itself.

Unfortunately, the cast is saddled with a half-baked script, which underdelivers on its promise of a queer, female fight club by seeming to forget that’s a crucial element of the story.

This is an assured leap to feature filmmaking for Manning Walker with a strong visual identity and sense of place – yet also one that sharply depicts the grey areas in gender and sexual politics that one is forced to confront as a teenager, particularly as a teenage girl.

The brevity of the source material is thinly stretched into a two-hour runtime, padded out with tedious subplots and a new, excruciating ending which undermines the initial point of its creation.

It’s stylish and sad and funny and bleak and a thousand other things. But most of all, it’s a pure hit of Sandler and Safdie.

It’s not exactly an ambitious plotline for someone like Fincher, but it’s certainly an engaging one, and the cryptic, constantly evasive protagonist is a puzzle that lingers after the credits roll.

The contrast between Balsillie’s ruthless business mind and the awkward Lazaridis and Fregin is entertaining, and avoids the ‘difficult genius’ trope which haunts the subgenre by emphasising that BlackBerry was very much a team effort, and the individualism that followed later is part of the reason it failed.

Unfortunately, writer-director Chloe Domont’s debut drama fails to make the most of its scintillating premise.

It’s encouraging that 10 films in, the Saw franchise has remembered what makes it so great: a potent blend of true horror, twisted imagination, comedic timing, and above all, the legend that is Tobin Bell. Whether or not they can write around Jigsaw’s canonical death to bring Bell back again is another matter…