Matthew Anderson

Structured in a series of chapters, there is an element of picturebook, even fairytale, enchantment to Hunt for the Wilderpeople. It is easy to be swept up in the adventure of it all, and the comedy and light-heartedness make it eminently watchable but as one narrow escape leads to another, and another, things start to feel a little thin.

Herrera’s exploration of the African diaspora in Bantú Mama does ask questions about identity, family, and the meaning of home which truly resonate.

It doesn’t hit the heights of former collaborations, but there’s a lot to drink in and appreciate here, and Mikkelsen’s all-dancing finale is one of the most exultant, triumphant moments in recent cinema memory.

Sticking to documentary form for the most part with key talking heads, a barrage of headlines and ample news broadcasts, the co-directors are not afraid to shock with gruesome crime scene footage.

The extraordinary amount of footage, which moves from monochrome, to grainy colour, to vibrant turquoises as technology and time march on, is really a wonder to behold. If, wherever you are in the world, there’s the opportunity to see Playing with Sharks on the big screen, then you should, to fully experience this eye-opening, vivid documentary.

A chilling expose of state-sponsored cyber warfare and the enemy within.

Sid and Nancy rages with a vitriolic fury which eventually becomes tiresome.

Though the slow, blurry-edged stupor of Shirley will not be to everyone’s tastes, it cannot be denied that it examines its subject, and a rather tired genre, with feverish, dreamlike fluidity rather than rigid biography. That, and Moss’ enthralling lead performance, are Shirley’s chief accomplishments.

There's something deeply unsettling about the unstoppable, magma-like flow of Werner Herzog's Into the Inferno.

The US-born, Kenyan-raised director’s feature-length debut is told with honesty, determination and grace.

Its woozy oddity does linger and the process of falling in and out of love may well feel like drowning. But as we come up for air in closing it must be said that the best is surely yet to come from this excellent leading pair and gifted director after this latest underwater outing.

Respect and admiration for her work and carefree nature is in plentiful supply but this is not an exclusively glowing retrospective.

Southside with You doesn't leave a lasting impact because it plays all elements altogether too safe.

Corbine Jr.’s debut is a lean, disconcerting and impressively shot character study. Hovering on a glimmering knife edge, there are flashes of brilliance here.

It is told with characteristic precision, compassion and determination by its prolific director.

In Abigail’s longing to see beyond the high valley walls with the kind of scope of an atlas gifted to her by Tallie, The World to Come envisages a future reality not yet visible over the horizon, but shown as the slightest glimmer of light.

Chief in CODA’s achievements are the dynamics of the very close unit at its core. Coming away from the film, there is the sense that this could very well be a real family.

Given its place and time, Ammonite’s coldness is perhaps apt, but its stiff upper lip may well not do enough to make yours quiver, either.

A film that is chock full of insight, piercing ideas and visual metaphors that unfortunately are never fully realised.

Amid the allusions and collisions, jump scares and very close calls, the thrills and spills of A Quiet Place Part II are elevated by its strong performances and a director with a keen eye for this intelligent genre piece whose broad appeal makes for another sure-fire hit. Take a deep breath, and enjoy.

The pacing and lack of incident may detract from the overall emotional investment we have for Horvát’s latest, but in its construction of a murky intrigue, composed visual style and Stork’s exceptional performance, there’s enough to make the journey home to Budapest a worthwhile visit.

Proceeding with a linear chronology to the present day, Castro’s Spies does justice to the long trials and many tribulations of its engaging subjects without ever flying too far off the expected route.

Its lasting resonance and wider humanitarian message is diluted by a second half that drags it down.

Rooted in the mundane, but told with an imaginative vision, flair and real composure, The Pink Cloud announces Iuli Gerbase as a new creative talent and filmmaker to watch out for.

The pacing of Meyers' film sometimes drags a little but like a slow-moving training heading for the end of the line we can see the danger ahead and are powerless to prevent it. This frustration, and a gripping central performance, make My Friend Dahmer a film you can't pull your eyes away from.

Though it may not stray too far off a well-beaten track, Marley Morrison’s feature debut Sweetheart is a sure-fire crowd pleaser that showcases a young filmmaker and cast with real promise.

The superb editing of news footage, the home video recording of the King beating and a dizzying amount of imagery from the heart of darkness during the riots throws us into the unfolding disturbances with minute-by-minute immediacy.

A United Kingdom is a solid, competently made and gorgeously photographed film, but its exploration of complex issues - race, gender, politics and affairs of state - feels rather safe throughout, their full impact and import somewhat dialled back.