Peter Bradshaw

It is only with the explicit possibility of a supernatural explanation, combined with full-on psychiatric breakdown, that the movie loses its light touch and its plausible detail. Yet there’s always a hyper-vigilant twinge of fear.

It is a deeply unsettling meditation on sexuality and transgression.

It's a gem: gentle, eccentric, possessed of a distinctive sort of innocence – and also charming and funny.

[Black] creates some outrageously contrived and protracted shootouts and one or two good old fashioned action explosions. But he also keeps the dialogue cracking along.

The film coolly conveys the awakening-from-denial horror that their investigation spreads through the film industry and I admire the way it takes the macho cliched nonsense out of journalism in movies: these are not boozy guys being adorable and chaotic, but smart, persistent people doggedly doing their job.

“This isn’t a Mensa convention!” says one player. Is that disingenuous? Isn’t there, in fact, some advanced showbiz intelligence and surrealist savvy in the way Jackass is set up and edited? Either way, it has a horror-comedy impact.

Perhaps this one doesn’t take Seidl’s creative career much further down the road to (or away from) perdition, but it is managed with unflinching conviction, a tremendous compositional sense and an amazing flair for discovering extraordinary locations.

The folk singer and counterculture veteran Joan Baez is the subject of this intimate and painful documentary, which brings us to the brink of a terribly traumatic revelation that it can’t quite bear to spell out.

Korean director Park Chan-wook’s new film brings his usual effortlessly fluent, steely confidence and a type of storytelling momentum that can accommodate all kinds of digressions, set-pieces and the occasional trance-like submission to mysterious visions.

It is a vivid snapshot of a troubled private life at the apex of the US music scene.

Jed Rothstein’s very entertaining documentary is another horror story from the tulip-feverish world of tech startups.

About Elly confirms Farhadi's shrewd judgment of pace, dramatic technique and formal control of an ensemble cast.

The sleek, stark images of this film are hypnotic; the faces are compelling and the hallucinatory finale is rather inspired. An arresting piece of work.

Moment by moment, line by line and scene by scene, Challengers delivers sexiness and laughs, intrigue and resentment, and Guadagnino’s signature is there in the intensity, the closeups and the music stabs.

The endlessly prolific Takashi Miike returns with this superbly acted revenger's tragedy.

1976 is made with thrilling assurance, and the tension and Carmen’s spiritual crisis are superbly conveyed, with a nerve-jangling score by María Portugal. It’s a great example of Chilean antifascist noir.

This is a bleak, bold, extravagantly crazy story which is emotionally incorrect at all times.

It is an intriguing and empathic study, which could help all of us to understand.

The film is quiet, understated and gentle, allowing the audience to take pleasure in teasing out its narrative subtleties, and presented with wonderful freshness and clarity.

In the Earth brings us back to Wheatley’s classic world of occult loopy weirdness and cult Britmovie seediness, with a new topical dimension of pandemic paranoia, and what keeps you watching is its unreadable, almost undetectable thread of black comedy.

I’m not sure that Les Olympiades says anything too profound about any of its cast of characters, but Audiard achieves something very watchable and entertaining in anthologising them. This is a connoisseur date movie.

It is such a strange film in its way, stranger still if you are not accustomed to Weerasethakul’s work, and it needs a real investment of attention. But there is something sublime in it.

[A] highly entertaining and outrageously over-the-top Cinderella soap opera.

One for the fans, perhaps, and a vivid Gradiva-esque glimpse of the past.

On the most basic level, it is a warning of what inequality can cause in the future and what it is effectively causing right now. Perhaps there is something nihilistic here, but New Order very effectively persuades you that a real-life revolution might well be every bit as ugly, horrifying and un-Hollywood as this shows – and that it is on the way.

It is an absorbing, committed drama.

Zero Days is an intriguing, disturbing watch.

A terrifically enjoyable and exciting summer spectacular: savvy, funny, ridiculous in just the right way, with some smart imaginative twists.