Tara Brady

Defiant, endlessly resourceful and gripping cinema.

Living, which is composed entirely of delicate movements and earnest pleasantries, maintains a quietude and stiff upper lip in the face of tragedy.

Pugh’s emblematic, muddy-hemmed blue dress — designed by Odile Dicks-Mireaux — marks her out against the windswept exteriors. Not for the first time this year, she’s the standout in a film that, given the remarkable personnel involved, really ought to pack a greater punch.

Taking a leaf from Parasite, Barbarian both literally and figuratively plays with the idea that however unpleasant things seem there’s always a scarier, lower level.

Another director might have fashioned Basic Instinct from such voyeuristic clay. Park dances with the material. Eschewing sex in favour of simmering sensuality, Decision to Leave coalesces into an intricate ballet between the main characters, Park’s careful choreography and Kim Ji-yong’s acrobatic camerawork.

The cast is fun. And any addition to the Henry Selick canon is a welcome addition indeed. A future Halloween classic.

A compelling and hopeful insight into the turbulence leading up to the 2021 coup.

Mackey, in particular, is a powerhouse. The young star is matched well with O’Connor’s carefully calibrated, appealingly earnest script, which approximates a modern sensibility without striking a false note or straying from Emily’s contemporaneous moors.

A winning cast, mostly drawn from the ranks of Gen Z, ensures that Rosaline’s spurned, sulky plans to steal Romeo back from Juliet can be fun.

A good-looking waste, but a waste nonetheless.

All of these parties try hard with a script that, while credited to Jen D’Angelo, doesn’t appear to have been entirely written as yet.

Colin Farrell’s central turn, a lovely, soulful study of melancholy, is one of his best performances to date.

This electrifying new film from director Romain Gavras starts as it means to go on: with a riot and fireworks.

What an auspicious debut for Kline and what a fine showcase for all other parties.

From the moment My Chemical Romance’s Welcome to the Black Parade blasts across the opening credits, this is the unexpectedly moving, nostalgia-soundtracked class reunion that you’ll enjoy despite yourself.

The triumvirate of actors at the heart of the film are so committed and so good. The songs are pleasing. The script is clever. There’s a charming Aristilean intimacy about the fixed location. Conversely, there are too many ideas and ambitions here to fit into a low-budget picture.

This already improbable dream boasts an interesting supporting cast.

Pritz collaborates commendably and sensitively with his subjects.

Dumb, fun, and definitely not for the acrophobic. See it. Then go argue plot points with people on the internet.

Mr Malcolm’s List plays like Jane Austen fan-fiction, which isn’t the worst subgenre in the world, even if nobody could ever confuse the plot with that of Lady Susan, let alone Pride and Prejudice.

Everyone on screen is having a ball — albeit behind the straightest of faces — in this uproarious gallimaufry of movie-related pretentiousness.

Director McLeod — another of Lee’s fellow students — has fun with contradictory accounts, tall tales and faulty memories in a film that pulls the rug just as effectively as its subject and inscrutable star do.

Pitched somewhere between folk horror, ecological revenge and scathing class critique, The Feast is at its best during the elegantly atmospheric, nervy first hour, as cinematographer Bjørn Ståle Bratberg picks out ominous details.

The convention of jumping between time periods can make the plot a little cluttered but the film’s worth as an educational tool for pre-teen audiences is inarguable.

A far better prospect than even the most ardent Predator fan could have wished for.

The Kraffts, who first bonded over their love of Mount Etna, remain as committed to the cause of understanding volcanic hazards and triggers as they are to one another. Their story makes for this year’s best documentary to date, and a film that demands to be seen on the largest possible screen.

The animation remains enchanting and is punctuated by exciting swords-and-sandals action, even if the finished film is not quite the classic we might have anticipated from the talents attached.

The urgency of the project ironically detracts from the drama. The story is simply too recent and too fresh to yield any surprises on the big screen. The characters appear mostly fleetingly and without time and space for development. This is precisely why the genre demands recognisable faces with baggage.