Leila Latif

Like marriage, White Noise might not be exactly what most expect going in… but there’s fun to be had in the many surprises it throws your way.

The documentary is remarkable for its access into Pope Francis’s life and its elegant footage, stylishly directed and edited by Gianfranco Rosi.

Antonio Banderas chews scenery with varying results but Olivia Colman is pitch-perfect as the all-singing all-dancing Reverend Mother. Paddington's latest adventure may be the weakest of the films so far but it remains a total delight.

Instead of a complicated protagonist at the centre of an atmospheric thriller Edgar-Jones seems trapped in an ill-advised antebellum-themed Taylor Swift music video, exacerbated further by Swift’s dulcet tones heard over the end credits.

This is a film of rare joy and spirit, and one that deserves to be celebrated as both a feminist fairytale and a manifesto that will inspire a myriad of future stories.

Not only does The Creator work as a good time at the movies, but it is also a reminder that mid-budget, (somewhat) original, crowd-pleasing stories can be told with aplomb.

Familiar biopic beats hold it back, but strong performances and McAvoy’s sincere direction make it a promising debut, balancing humour and heart.

While the central character’s arc will likely launch a dreaded “discourse,” there is a tenderness to Master Gardener that may prove its biggest surprise.

Zippy duologues, expertly teased beehives and stunning late ‘60s costumes may make this pro-choice message more palatable to the masses but ultimately the film pulls its punches, never lingering long enough on a single scene or tragedy to let the impact of these women’s work consume the audience.

While Sorkin, Kidman and Bardem breathe life into these sitcom icons, their lives ultimately prove too big and too messy to fit within this film’s constraints.

Halle Bailey is fantastic as Ariel, and Daveed Diggs delightful as Sebastian the crab, but it’s still a late-stage capitalism slog.

If the film doesn’t radically deepen the conversation around the gender politics or financial intricacies of marriage, it does find new textures in the way ambition corrodes intimacy.

Moana remains as compelling a protagonist as ever in her much-anticipated sequel, whilst her reunion with Maui showcases the wonderful voice talents of Auli’i Cravalho and Dwayne 'The Rock' Johnson. There’s plenty to admire in the animation and rich mythology of the tale, but it rehashes many of the themes and plot points of the original leading to a fun but less vital movie.

The evils within the film feel tragically prescient, and “The Most Precious of Cargoes” makes those parallels explicit

What the adaptation has going for it is two charismatic young stars, Felicity Jones and Shailene Woodley, pitching in to tell an enjoyable but extremely conventional story.

Fans of Maggie Gyllenhaal will be disappointed; fans of Mary Shelley will be disappointed; fans of unhinged cinema will be morbidly intrigued.

This is an impactful and at times profound film, with a hauntingly lovely turn from Sandler.

Each time Fuhrman is obviously switched out or Julia Stiles is clearly stood on a box the B-movie hokeyness is utterly hilarious. That fun is only enhanced by the complete seriousness with which each actor is performing their part, particularly the cat-and-mouse duologues that Stiles and Fuhrman practically spit at each other.

Rodriguez doesn’t take his foot off the gas for the entire 94-minute run time. There’s an action sequence about every four minutes and a plot twist every 10. In a world where so many films feel bloated and overextended, the frantic pace is highly refreshing.

What’s most exciting about Dominik’s vision is that it pieces together the most famous images of Monroe to create a collage that pays homage to her ultimate unknowability.

Ultimately, the wonderful family movie in here that’s screaming to get out is hopelessly trapped in Disney’s Haunted Mansion.

It’s engrossing and purposefully strange, and the images of this climate-change-ravaged world of dried lakes and barren grasslands are bewitching and terrifyingly plausible. But when the inevitable twist comes, it makes about as much sense as using a fundraising model Bob Geldof threw together in the 80s to stave off the 4th horseman of the apocalypse.

Green delivers a smart, sturdy second chapter. Low consequence, perhaps, but still highly entertaining.

It’s a bold play worth seeing, if only to watch Marlon Wayans get the ball and run.

Beyond its nonsensical plot, the film imagines the audience will be delighted by a myriad of references to the first film – but in Dominion it feels less like watching a beloved band play their greatest hits and more like watching them hawk merch to pay for an expensive divorce. Embarrassing.