Lillian Crawford

A starry trio and suspenseful filmmaking can’t save this apocalyptic thriller from collapsing on itself.

McCormack, Grant and Delpy waltz with flair in this stylish if unoriginal slow-burn thriller. Best consumed with a large glass of red wine and one’s tongue in one’s cheek.

Salomé is not an imaginative director, apparently content to sit back and watch Huppert command the film with little regard for the rest of his cast and crew.

It takes courage and ingenuity to find the modern romcom formula within the operas of Gluck, sung well through SMS by Heughan and Chopra Jonas. It also stars Celine Dion.

Menkes is in such a rush to get through the history of cinema to point a finger of blame at everyone except herself, ending with her own films as examples of a negation of the gaze. Nobody’s perfect.

Brief and to the point, Honeyland proves more meditative than its premise suggests.

Hope Gap doesn’t go as deep into questions of love and loss as Nicholson’s 1993 screenplay for the CS Lewis biopic Shadowlands, but it benefits from the focus on an adult son, for whom the end of his parents’ marriage is shown to be just as hard to accept as it would be for a young child.

Maybe not quite enough to warm a sceptic’s heart, but certainly a pleasant enough outing for your nan.