Nigel M Smith

In Hall, [Campos] has the perfect actor to convey Chubbuck’s internal struggle in a manner that’s devastating.

It’s a singular vision from an uncompromising director that happens to be about one of the most famous women in American history. Jackie is not Oscar bait – it’s great cinema.

Sachs’ approach is so humane, and his characters so fully rendered, that an agenda never announces itself; instead, Sachs’ worldview seeps into you. He’s that skilled a film-maker.

Author is less a run-through of one of the biggest controversies to plague the literary world in the past century, than an illuminating study of the enigmatic and driven woman behind the phenomenon.

If the lads were insufferable misogynistic pricks, Everybody Wants Some!! would make for horrible viewing. Thankfully they’re all intensely lovable.

Director Steven Riley’s film is a fascinating collage which profoundly probes its subject’s psyche.

Gage’s remarkably intimate portrait of female youth on the verge leaves you with a largely hopeful feeling that this particular group of women will make good on that advice.

The pleasure in watching this documentary is derived from its countless twists.

It’s Shannon who leaves the most lasting impression.... She effortlessly mines the material for all its uncomfortable laughs.

Like Reichardt’s directorial hand, the performances are understated across the board, but deeply felt.

Yes, the story has the makings of a Lifetime movie; what grounds it are the terrific performances and Heder’s rich direction and screenplay.

Like its distraught protagonist, Amber Tamblyn’s Paint It Black is unforgiving, flawed and ferocious.

It’s unpredictable and a bit of a mess. And that’s what makes Maggie’s Plan such a delight.

His fly on the wall approach never feels exploitative – in instances, it yields surprising empathy. In spite of his characters’ actions, Minervini miraculously captures traces of profound humanity.

Wiener-Dog doesn’t find Solondz going light to deliver an inspirational medley. Instead, he’s created arguably his most caustic film since Happiness.

It forces viewers to take long looks at his most controversial imagery, proving that he still has the power to provoke, seduce and enrage.

As Jonathan Demme’s concert documentary Justin Timberlake + the Tennessee Kids indisputably shows, Timberlake is only truly in his element when on stage being a showman.

For a directorial debut, Ross’s film is admirably odd and hard to pin down.

Falardeau draws exceptional character work from his cast.

Ozon is often at his best when working with women, and he has a fabulous talent in Paula Beer to bring his protagonist, Anna, to vivid life. She’s stunning in the role.

Dunning recounts spellbinding tales that led to the gradual downfall of his expansive Mile Hill Farm, and the destruction of his two marriages.

Though hats are respectfully doffed, this is a four-woman show, deftly managed to allow all the leads – McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones – a chance to showcase their own distinct brands of comedy.

Beckinsale is a hoot to watch as a character with no redeemable qualities, except for her cunning ability to get what she wants. You can’t help but love Lady Susan because of the evident joy she takes in being so duplicitous. Her energy is infectious.

As comeback projects go, Blood Father is stellar. It’s a wonder Quentin Tarantino, the king of career resurrection, didn’t get to Gibson first. The actors completely tears into the role of Link, a battered and disgruntled ex-con. Richet matches him, delivering a muscular and deliriously entertaining B-movie that is sure to play like gangbusters with genre aficionados.

Despite its setting and Korean American cast, Spa Night unfurls in a largely expected manner, with David struggling to embrace his identity because of his strict religious upbringing, while trying to make his family proud. He’s portrayed so opaquely that’s it’s difficult to connect with his dilemma.

Even as All I See Is You descends into soapy nonsense, it remains visually engaging.

Ultimately, it tries a little too hard to wring those tears.

Admirably cynical until it loses its way in the final stretch, The Ticket nevertheless maintains a provocative allure, bolstered by a fiercely committed performance from Dan Stevens.