Leslie Felperin

Even though it’s largely deeply undistinguished work, credit is due to whoever rustled up some great supporting actors for little roles around the edges, such as Welker White as the mother of one murdered kid, and Samiah Alexander, who is a hoot as a punctilious trucking company secretary.

Moses’ story circumnavigates a relationship between two women, one that is charged with an intensity that’s more than platonic but less than erotic, and inflected by an unequal power distribution.

A whimsical, good-natured romp, sure, but one that’s only mildly amusing.

Money can’t buy you good comic instincts, inventiveness or a sense of playful whimsy, but, fortunately, Taylor and his handful of collaborators have all that for free.

Altogether, this is flyweight fun.

The last half hour, so finely underplayed, is quietly devastating.

The whole shooting match is pretty bloody, and as cheesy as the dairy aisle, but decent fun to watch.

This hallucinatory, deeply confusing but skillfully executed and mesmeric work flows back and forth across time periods, parts of the city of Yekaterinburg and its characters’ memories, often literally within the space of a single shot.

Odd though the film is and full of peculiar needle drops showcasing classic tunes that don’t especially fit the action, the whole thing looks pretty good thanks to cinematographer Sean Price Williams.

This goofy horror comedy, based on an online game of the same name, just goes to prove that if you have a great cast, smart direction and witty script you can just about get away with murder.

Although the main characters in this romantic tale are meant to be just over 18, this Sky Movies release is manifestly aimed at a much younger market with its sex-free storyline and nice-girls-finish-first morality.

Even the lush world-building of the visuals here, committed performances especially from Young, and stream-of-consciousness editing aren’t enough to conjure the wry, melancholy, and, above all, intensely literary interior voice of the book’s protagonist.

No one is a bad guy here, while all of them are also flawed, and the movie keeps the viewer wondering right up to the end what Jess will finally decide.

Once the bloodletting starts, Calahan interleaves it with witty asides and the pacing picks up a lot, all combining to make this impish if flyweight entertainment.

It all feels very dated and artless, like someone’s grandpa wrote the script 50 years ago and it was found in a drawer, then financed and made with a not inconsiderable budget for extras, vintage tanks and lots of old uniforms.

Director Rocha de Sousa here wants to ensure the audience stays on the side of the protagonists. But if you stack the deck too hard, the whole house of cards risks collapse.

Despite a few modish touches, this feels fundamentally very old-school, and not necessarily in a good way, right down to the repeated shots of people running away from fireballs in the background.

Even viewers who might find 6ix9ine and his gangbanger nonsense repugnant can still find much to admire in this well-made film essay.

This pulpy multiverse brain-teaser is reasonably compelling to watch – at least in this reality. In another, it’s straight to video garbage, and in yet another, it’s won the Palme d’Or.

The final endgame is a little unsatisfying, but this is a very interesting debut for McCarthy.

It succeeds in walking the tonal high beam without falling into soul-destroying bleakness on one side or a saccharinely fake happy ending on the other. That’s no mean feat.

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.

When it’s all over and the big twist you saw coming in the first 15 minutes has been revealed, you feel empty, a bit depressed, and like you need another cup of coffee.

Although some might argue that not mentioning anyone's difference is a kind of erasure in itself, it's hard not to get swept up in the cast and crew's joyful insouciance. Plus, the cheeky showtunes, co-written by onscreen villain MuMu and executive producer Peter Halby, are a hoot.

There’s no doubting that this film was more fun to make than it is to watch, although there is a sort of guilty pleasure in the spectacle of ruins and decay and wondering whether the film-makers actually found a real abandoned resort, or if it’s all a set.

The gags don’t always land, and some of the line deliveries plod painfully on, but there are moments that nail the strange comedy of sexual manners that must be navigated these days.

Lisa Rovner’s superb documentary pays a deeply deserved, seldom-expressed tribute to the female composers, musicians and inventors from the brief history of electronic music.

Writer-director Justin P Lange finds a satisfying way to update the possession-exorcist theme for a new generation grown wary of the Catholic church’s old ways, particularly in the wake of the abuse scandals that have shredded the clergy’s credibility in recent years.