Stephen Dalton

The performances here are bloodless, the pacing listless, the dialogue witless almost to the point of deadpan parody.

Any meager pleasures that Lies We Tell offers are purely technical.

A clumsy high-school sex comedy which tries too hard to be both shocking and endearing, falling short on both counts.

Graham begins Run with a solid premise, but he lacks the dramatic horsepower to move the story out of second gear.

Dolan has labored hard to yoke together these tricksy, time-jumping, intertwined plots, reportedly editing down a mountain of material over two years. In the process, a whole character played by Jessica Chastain was surgically removed. But however long he tinkered, Dolan has not quite salvaged a story whose default setting seems to be mirthless, ponderous navel-gazing.

This film’s thin charms lie not in its authenticity but in its zippy energy, good-looking cast and mild sprinkling of action.

Behind its superficially avant-garde aesthetic, Baby Invasion is a shallow, conservative, masturbatory piece of work. It leaves behind an uncomfortable choice: either Korine has run out of anything interesting to say, or he has actually been trolling us all along.

Drunk on its own noble aims and rich ingredients, Megalopolis is a muddled misfire of overcooked kitsch and undercooked ideas.

With an ineptitude so thorough it borders on genius, Cummings achieves the rare feat of making Sheeran appear even more boring in person than he is on record.

Mortdecai is an anachronistic mess that never succeeds in re-creating the breezy tone or snappy rhythm of the classic caper movies that it aims to pastiche.