Tara Brady

The script is as indulgent as it is compelling, which is fair considering its depiction of two riled people who know each other’s weaknesses. Marcell Rév’s crystalline high-contrast black and white cinematography is gorgeous enough to transform a domestic dispute into something wonderfullycinematic.

Expect head-scratching, some non-sequiturs and lots of quirks and Bliss will mostly entertain and consistently baffle.

Away is as unique as it is lovely.

The lively narration and rollicking pace make for favourable comparisons to Scorsese’s Goodfellas. The Bangalore backdrop and Indian social relations bring something unique to this frequently imitated (and seldom rivalled) crime movie template. Paolo Carnera’s camera has fun with dark corners and sickly neon. Adiga’s dark humour keeps abreast of the political commentary in a film that powers through its source material at breakneck speed.

It’s a fascinating news story, but the film’s additional, if entertaining speculations remain just that.

Archival footage of King, including a lively interview with Merv Griffin, allows the late activist to talk us through his rise to prominence. Whatever is on those sealed tapes, there’s no quibbling with his charisma or his humanity. Pollard’s questioning, vital chronicle is a fitting tribute.

Exasperating viewing for fans and certain to baffle newcomers, it’s a curious, imaginative thing, but who exactly is it for?

The visuals are as wildly original as the script, which was co-written by Docter, Kemp Powers, and Mike Jones.

Moratto and Thanyá Montesso’s script is precise and minimal. Christian Malheiros and Tales Ordakji make for a wildly charismatic screen coupling.

A film that feels as authentic as it is boisterous.

It’s just a great story, you wonder why nobody thought to make a movie before.

Once you’ve hacked your way through the jungle of controversy, you will, in Abdellatif Kechiche’s already-notorious, rough-edged romance, encounter a small (though far from short) masterpiece.

It’s not the banality of evil that chills so much here as its matter-of-factness. This is really something.

Dave Davis’s petrified protagonist is nothing short of star-making.

Under the satire, there’s an authentic sense of emotional uncertainty.

Frustratingly, there are some good jokes and ideas buried in the aesthetically displeasing Scoob!.

Affleck has made no secret of his struggles with alcohol and has talked about the catharsis he experienced shooting Finding the Way Back. It’s a career-best performance, one that marries hulking physicality and internalised demons, as Jack battles grief and addiction.

This isn’t as funny as Blades of Glory or The Other Guys or premier league Ferrell outings. It is, however, amusing and good-natured.

It’s impossible to recreate the electricity of a live performance but with a musical as beloved as Hamilton, one can hear the audience swoon as Christopher Jackson’s George Washington appears, or when Daveed Diggs’s Thomas Jefferson struts onto the stage.

Occasionally, the narrative is almost as wilfully undisciplined as its commendably rebellious heroine.

This is a wildly impressive first narrative feature, powered along by a strong cast, great chemistry, virtuoso flourishes, and fierce energy.

Appealing documentary of the Nobel Prize-winning author has fascinating details.

Onward falls well short of magical.

If you found yourself internally screaming for Ryan Reynolds to shut the hell up during Deadpool, then the relentless, zany narration of Margot Robbie’s Harley Quinn will likely send you gibbering and ruined towards the emergency exit after, oh, 23 seconds.

The Lighthouse stands as a monument to two titanic performances. Pattinson’s easy naturalism curdles into something unnerving and evil here, while Dafoe goes full German Expressionist villain with the biggest screen performance since Daniel Day Lewis in There Will Be Blood.

Potentially interesting religious and philosophical dimensions – novenas in the dashboard, Jesus on the telly, the notion that the ghost evidences an afterlife – are swiftly discarded by this wholly redundant reboot.