Jordan Hoffman

Split goes all-in on McAvoy slipping from persona to persona, and luckily he’s got the acting chops to sell it.

Carrie Pilby the film is 100% Carrie Pilby the character, a living quirk machine that in a lesser actor’s hands might be insufferable.

What’s most striking about Ixcanul is the elegant way in which it is shot. Scenes are given space, and the audience is allowed ample time to soak up the atmosphere.

In addition to its ability to take this odd premise and run with it, Nina Forever scores by being tremendously erotic. Granted, what’s sexy varies from taste to taste, but the exuberance in passion exhibited by young Abigail Hardingham is refreshing in a landscape of independent films that too frequently play nudity for a cheap laugh or just to tick a box off a potential distributor’s list of requirements.

There’s really not much going on with Roar storywise. But then you take a step back and think about what it is that you’re watching. My viewing of Roar was set to a soundtrack of “Oh my God!” and “Holy crap!”, all of my own making.

Jason Clarke is strong as the weak senator, and he wisely goes easy on replicating the unmistakable Massachusetts accent.

Burning Bush is a rare accomplishment. It’s a political film with clear heroes and villains, and true to its HBO roots, it works as a fleet-of-foot juicy plot-delivery system.

Did you like The Commitments? Did you like We Are the Best!!? Well, Sing Street isn’t as good as either of those two, but it’s still pretty terrific.

A gripping, fascinating and visually arresting memoir.

With Muppets Most Wanted, the vaudevillian pandaemonium is alive and well.

Macdonald grants us insight into the process and, as expected, it’s hardly as haphazard as sceptics might think.

This is an extremely watchable and enjoyable film, but its compression of historical events does become a tad silly.

It is one of the better dumbass sci-fi action movies to come down the pike in quite some time.

What could have been mere summertime chum is actually one of the more cleverly constructed B-movies in quite some time.

This light and predictable movie, with its overwhelming box office success, still offers tremendous insight into day-to-day Israeli society.

It's very funny at times, but it isn't a comedy. It is that very rare of beasts: a new and original motion picture.

All three actors are tremendous, and director Dan Trachtenberg, making his feature debut, must be commended for keeping things tightly focused.

Director Kyle Patrick Alvarez deserves all the praise in the world for the way he cranks up this pressure cooker script. The Stanford Prison Experiment begins with giggles but ends in full psychological break.

More frightening (yet strangely entertaining) than most of today’s narrative horror films.

It’s a minor work that knows its place in the margins, but is thought-provoking and surreptitiously insightful – and very funny.

Equity takes us inside modern Wall Street in a unique and gripping manner.

If a movie as rich and understanding as Mediterranea suddenly appeared every time we read about a difficult issue in the paper, maybe all of the world’s problems could be solved.

The movie is rich on its own as a character piece about the difficulties of being bi-racial, especially at the very specific location of Columbia University.

When something is this engaging (and funny, did I mention funny?) it ceases to merely be about ideas and becomes, even in this borderline sci-fi context, a thoughtful movie about people.

Laughs emerge from the recognisable micro-horrors found in modern living, which, if the world was run in the way we all agree it should be run, wouldn’t exist.

Ficara and Requa have an irreverent streak, one that even might strike some as a little flippant against the gravity of the war.

In the most reductive way, it is another mafia story. But as with their previous film, it is the specificity that counts, and while certain genre tendencies prevent the narrative from truly unmooring, hardly a scene goes by without something fundamentally familiar being rendered in a unique fashion.

Teerink’s reserved, spare form mirrors LeWitt’s work, which gives it tremendous impact.