Leslie Felperin

Eminently entertaining ... Sure, it shamelessly panders to our collective sense of duty to support the troops — and, of course, also support the families that support the troops — and maybe it's more than a little manipulative and formulaic. But gosh darn it, it's hard not to warm to a film that features an a cappella version of Yazoo's "Only You," a near-derelict car that may or may not be called Shite Rider and Kristin Scott Thomas having a verbal catfight in a parking lot.

As quiet and thoughtfully composed as a Dutch master's painting, Ordinary Love uses clean lines and well observed tiny details to build up a deeply moving, nuanced portrait of a marriage under strain after a cancer diagnosis.

This is such twaddle it becomes kind of fun, except that there’s an uncomfortable feeling – as with many vigilante movies – that the film is revelling in the sexual violence and covering itself with the fig leaf of justice-seeking.

As fun as a night in the mosh pit with your best mate ... Directed by Coky Giedroyc with a fizzy vibrancy and supercharged by Feldstein's intense charisma, this crowd-pleasing comedy has smart things to say about class, sex and female identity.

Downton 2.0 is literally bigger, broader, more gem-encrusted, punctuated with more drone shots and monarchist pomp, and has all the major cast members back in place.

The performances are strong and full of passionate conviction, which somewhat moderates the problematic aspects, while the use of natural light and tacky seaside textures does succeed in generating some atmosphere.

There almost isn't a single shot in it where every member of the cast isn't Acting ... The result is, at times, insufferably pleased with itself.

Jaunty but thought-provoking.

It’s a nonsensical premise and a pretty incoherent, painfully inept film.

Aquarela takes a deep dive into watery realms around the world, offering up an experience that can truly be described as immersive.

There are some tonal problems here, particularly around the way the film tends to homogenize very disparate views and opinions into one sweet, easily digestible polemical smoothie.

The film is an empathy generator, an antidote to compassion fatigue.

Viewers and critics versed in golf lore can pass judgment on how well this documentary about caddies enhances their knowledge of the sport itself. But on the behalf of those utterly uninterested in golf, I can report that it is moderately interesting.

Our kids deserve storytelling that has more wit, and animation with better design, but I suppose this will do at a pinch.

Throughout, Costa’s voiceover adds shape but doesn’t intrude excessively and lets the powerful compilation of original and archive footage, material shot on the ground in the middle of riots and by drones soaring hundreds of feet above Brasilia, tell the story.

It's all business as per Noe usual.

The script may hum and buzz with twists and require concentration, but that's not exactly the same as being intellectually satisfying and rich the way Porumboiu's earlier work was. They were closer to profound; this is just clever.

In the end, Young Ahmed feels like little more than a pained shrug, elegantly made, yes, but vaporous and virtue-signaling an empathy that's more gestural than heartfelt.

Assaying [Sciamma's] first period film, an exquisitely executed love story that's both formally adventurous and emotionally devastating, she sticks the landing like a UCLA gymnast in peak condition. It's so good you'll want to watch again in slow-motion immediately afterwards just to see how she does it.

Technically this is competent if not remarkable film-making.

A lot of ideas about class, post-imperialism and spiritual values peek up out of the surface of the text, but they're not developed with much rigor compared to what Diop conjured with more intensity and less time in A Thousand Suns. All the same, this is a striking work.

As a teaching and consciousness-raising tool, it will be an indispensable resource.

Don't tell anyone I said this, but the result is not only pleasingly emotionally purgative, but also has some elements worthy of genuine admiration, despite the fact that the third word in the title is one that should now be entirely banished from the English language for its precious, psychobabble connotations.

It’s hard to dislike this pleasant, earnest work.

A little more nuance and historical depth would have been welcome, but this will be serviceable entertainment when it gets to streaming, as long as viewers have a supply on hand.

Nattiv's bio-drama has its flaws, but the performances across the board are outstanding. ... Nevertheless, there's something a bit queasy-making about the film's full-on plunge into melodrama in the last act.

The incessant bloodshed is delivered with imaginative aplomb in this witty reboot of the 90s trash franchise.

Pure dead gallus (that's Scots for 'wonderful').