Nigel M Smith

The studio has managed to deliver a follow-up that’s even weaker than its predecessor. In crude terms: Alice’s second trip to Underland wasn’t worth the wait.

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

Tom Tykwer’s adaptation is a meandering mess of half-baked storylines that amount to little. Hanks’s affable presence keeps it all afloat.

When you have two of today’s best working actors acting on a high-wire to do justice to two of the most recognisable figures of the 20th century, it’s best to keep the focus solely located on them.

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

The film plays like nirvana for Pee-wee fans.

If there was a strong enough story to latch the jokes on to, Keanu might have worked. As it stands, it reeks of a grossly underdeveloped sketch extended to feature length.

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

[A] lazy affair that aims for inspired lunacy but misses the mark by a mile.

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

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

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

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.

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.

Unfortunately a slack screenplay and lack of focus holds the project back from being anything more than an actors’ showcase.

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

Unfortunately, on the whole, Schamus’ debut feels too self-serious to fully engage.

As the proceedings grow increasingly more far-fetched, the story starts to feel thinner, any semblance of reality increasingly abandoned. What keeps Hunt for the Wilderpeople afloat are the full-blooded characters that populate it.

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

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

McKay’s attempt to cover so much ground is admirable; and the outrage that courses throughout is deeply felt. But his busy execution...feels labored.

A harrowing subject for a film, then, but somehow Landesman – who also wrote the screenplay – never manages to turn it into a gripping movie.

By the Sea’s uncompromising nature is its most admirable asset. It’s a vanity project that’s difficult to love, but alluring to unpack.

The story The Walk tells is, admittedly, an unbelievable one, so it’s understandable Zemeckis should choose to leave subtlety at the door. Sadly, such an approach strips the film of tension, especially at the crucial moment.

Patricia Rozema’s drama doesn’t burrow deep into its end of world scenario.

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

A film that should feel urgent and of its time, but instead is rendered cliched and dull by Sollet’s amateurish handling of the material.

Pixels is a casually sexist, awkwardly structured, bro-centric comedy, starring some of Sandler’s buddies. The only difference this time is that state-of-the-art CGI has been added to the mix.