Leila Latif

The sequel has everything that made the first film so special, but most thrillingly, it puts away childish things. There’s moral ambiguity, meaningful stakes and commentary on race, capitalism and the state of cinema that have matured alongside its protagonist.

Zoë Kravitz makes a phenomenal debut as director with this heightened, gripping thriller.

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.

As much as the new technology that prolongs our lives, and makes a film like De Humani Corporis Fabrica possible exists, there is a devastating truth about the vulnerability of the flesh that lingers.

The film is at its most powerful, however, when Almodóvar relies on his muse and intensely fixates on her character as Janis silently absorbs waves of devastation or allows herself to confess, the words rapidly, cathartically tumbling out of her. In those moments, Parallel Mothers becomes a beautiful tribute to their enduring, working relationship and the trust the director regularly puts in Cruz, whose performance he never surrounds with flashy flourishes.

Even setting aside its subject matter, it is an astounding feat of dramatising real events with an eye on the cinematic, yet it delivers such a punch to the heart that one hesitates to recommend it without qualification.

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

Chevalier is ultimately a devastating reminder of a greatness that was nearly entirely expunged from history, and how equal talents lived and died without even being given a chance to put a little more beauty into the world.

While it would be hard to argue that none of this film’s two hours, 20 minute runtime could be trimmed, its final minutes are well worth the wait, with Cooper selling the intense darkness with everything he’s got.

Heretic may seek to rock your faith in the divine, but it truly fortifies one’s belief in Hugh Grant.

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

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.

At its heart is Tessa Thompson, giving a performance so commanding that it seems to reshape the molecules around her. Her Hedda is poised and sensual with a magnetism that affects virtually every interaction. The glance is a seduction and the lightest curled lip becomes a threat, with DaCosta trusting her leading lady to convey the power of this woman in silent, lingering close-ups.

The story focuses on the mutual gratification the protagonists provide each other, and how two imperfect humans meeting can prove a shared antidote for worldly ills.

Even in the most crass jokes, where fluid pours out of orifices, Babes is a delightful and profound study in growth.

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

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.

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.

While the biopic is determinedly feel-good, and sometimes a little over the top, Williams holds true to the spirit of someone who - like Gael García Bernal - was a born entertainer.

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

In the end, Silent Friend is a film of contradictions, profound, complex, and beautiful, but occasionally interminably boring.

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.

As much as Jenkin’s film is hypnotic and strikingly realized, in the final half hour it runs out of tricks up its sleeve.

The idea of them getting justice never feels on the table, but the film instead is a path out of the madness of a system where to simply have what happened to their father admitted would fill some of the void he has left behind.

There is a lack of catharsis in the conclusion which, to the film’s credit, feels apt. It’s a powerful story with no easy way forward for anyone concerned.

Director Green may get the best out of Smith, and his directorial style is, in general, very robust, yet his hyper-competence occasionally works to the detriment of the film, feeling cautious and out of step with the bold ambition of hi subjects.

An overabundance of celebrity cameos and some incoherence aside, The Bubble succeeds because it is just so damn fun. Even with a departure from Apatow’s more muted direction there is an abundance of laughs.

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.