Leslie Felperin

An exquisitely realized adaptation of Lionel Shriver's bestselling novel. In a rigorously subtle performance as a woman coping with the horrific damage wrought by her psychopathic son, Tilda Swinton anchors the dialogue-light film with an expressiveness that matches her star turn in "I Am Love."

No matter when the action is set, some things never change in Park’s world. Nor should they.

As with so many of the best mystery-horror films, the optimum way to enjoy a first viewing of this is try to remain as ignorant as possible about what happens. That said, it also brims with tiny, blink-and-you'll-miss-them details that will repay repeat viewings.

There’s something admirably honest about the meta-method Amalric and co-writer Philippe Di Folco have chosen.

Sometimes a seemingly unprepossessing genre film comes along that has finer qualities than you would expect. Such is the case here.

Like an unusually designed coat featuring quirky details and an interesting fabric choice from a young designer’s first collection, Swedish writer-director Mika Gustafson’s feature debut has raw edges and some sloppy stitching in places, but the whole is fresh, directional and beautifully cut.

Harvest stands strong and tall, a work solid as an oak. Full of a sensual love of nature and a distinctive vibe, it’s tangy like a home-brewed ale.

Rambling and unfocused but not without its moments.

Undeniably uplifting, even if the string-laden score strains too hard to tweak the tear ducts, this US-made documentary tracks a running group of recovering addicts and paroled convicts who train for marathons together.

It never provokes full-on out loud laughs, but there are wry chuckles to be had and the ferocity of the execution is pretty fun.

Like horse racing, filmmaking is a high-risk gamblers' game, but the team behind Dream Horse, the resulting dramatization of the Vokes' story, have surely bred a winner with this endearing, determinedly crowd-pleasing adaptation.

The director, her co-screenwriter Etienne Comar and the exceptional cast led by Emmanuelle Bercot and Vincent Cassel have an acute enough eye for the manners and mores of these archetypes to make the material feel consistently fresh and alive.

The film comprises an impressive directorial debut for Adler who demonstrates a confident grasp of pace, place and thesp handling.

As a narrative, it gets a bit repetitive by the time we get to France, but the abundance of home video footage from back in the day, and campy dirt-dishing from the interviewees, makes for a touching look at halcyon period in New York history, before the last shabby corners of Manhattan were gentrified beyond all recognition.

The end result is a nifty ethical puzzle about balancing the needs of individuals versus those of the community. Still, it’s best not to take the plot too seriously given the wild implausibilities that come into play in the third act.

Through it all we see Richard O’Brien himself, sometimes jamming on a guitar and dropping crisp bon mots, right up to the end when he gets just a little bit weepy thinking about it all. Adorable.

A little more subtlety and a more nuanced approach to the dynamics of this culture clash would have made the film that little bit more effective.

This woman, for all her flaws, is clearly a warrior first and foremost.

The cast certainly seems to be in on the whole joke, or at least must have felt all those hours in the makeup chair getting swaddled in latex was worth it in the end.

It feels confident, inventive and as grippy as duct tape throughout.

Sure, this is a talky movie, big on debates and low on action, and may feel somewhat theatrical – but that’s not necessarily a bad thing, especially when the performances are this subtle, expressive and electric.

Simply designed animation, modeled on the look of cool cartoons of the time such as Daria, adds an extra comic jauntiness. You could say, to use a popular slang term from the 90s, this puts the “mental” back in experimental, but in a good way.

Brugger ensures it's a fairly entertaining excursion, especially when he starts to enjoy getting into character as the nefarious white man in Africa.

It’s a thoughtful, honest and touching work, especially for women who love women, and also love canals.

It’s no surprise to learn Kostanski has worked as a special makeup artist on bigger budget projects such as Suicide Squad and It, but this proves he has a way with actors as much as a knack for latex and fake blood.

Like a lot of topline Korean films, this prestige action thriller is a little too long at 137 minutes, but it’s consistently entertaining throughout, and quite well-suited given the length to being viewed on a streaming platform.

Even if the antics shown here aren’t really your thing, it is still a hoot seeing Gwar members get interviewed by a game Joan Rivers: you can tell that beneath all the latex most of them are sweet, normal folk who remained loyal (mostly) to one another and shared a vision for the group.

This challenging, extremely violent, ravishing-looking, intricately plotted adaptation by Kitano of his novel is of interest for its fresh take on a musty genre. That said, it could feel like a slog to watch for viewers who aren’t fans of sword-wielding, screaming samurai movies.