Tim Robey

Smartly cast and gluing that career ever-more-diligently back together, LaBeouf gets under the McEnroe skin with twitchy gusto.

Una is a sparse, icy film fighting a little too hard against the fact that it used to be a play.

The film could have done with a richer sense of what Milly and Jess really see in each other. It’s as if Barrymore and Collette have been flung into this relationship unprepared, and must hustle to suggest there’s much of a history.

The Family Fang, based on a book of the same name by Kevin Wilson, looks on paper like your typical, middleweight, dysfunctional-family angst-fest. But it’s rather better, and considerably more eccentric, than you might expect.

It might have been a classic stoner comedy if far-out outweighed the gross-out.

Somewhere in the specifics of Cronin’s is-he-or-isn’t-he scenario – played with gripping detail by Kerslake and Markey – there’s a decent little midnight chiller.

A lot of the subplots and surroundings, which push the running time to an ungainly two-hours-plus, feel more like ways of stalling for time.

Hail, Caesar! keeps stumbling over its own best ideas as we stop to appreciate them – ditching momentum, preferring gaps for applause.

The one inspired idea here is what happens to the minions when they’re injected with serum by the film’s mystery baddie, and this is enough to give us at least a reel’s worth of anarchic pleasure.

It’s a sturdy, straight tribute to an undertaking that feels wacky, quixotic and heroically mad – proving little that it set out to prove, but a great deal accidentally, about resourcefulness and survival in extremis.

It relies on Binoche’s radiance, but also her immense control, to keep any kind of shape, demanding a portrait in shards which she pieces together, like an affecting mosaic.

In the annual way of these things, Office Christmas Party is something you might regret not dropping in on, but you could cut your losses after an hour or so, and only miss sordid carnage and a sore head.

Jeremy Renner is superb as a reporter ruined by his biggest story, but The Parallax View this isn't.

You wouldn’t call it profoundly scary – the one thing a wiped-clean slate can’t do is instantly defamiliarise us with every iteration of the monster that’s come since Carpenter. But it’s robustly suspenseful and shot with loving care.

Everything we're meant to feel here is bluntly dictated by the script and delivered with unambiguous, button-pushing direction - it's impossible to miss. [06 Aug 2016]

Both the sweetest and the funniest performer is Love and Friendship’s Tom Bennett, endearingly innocent and dreadfully coiffed as a third-generation British hedgehog gently upgrading from his dad’s tired routines.

For all its properly surreal mayhem, this flick isn’t quite as nimble or emotionally rounded as its predecessor.

Rather than bionically enhancing all its characters, a better movie might have found ways to celebrate their sloth and slime.

It comes at you baying and rattling like an early Pedro Almodóvar comedy, threaded through with an infectious love of full-throttle melodrama, and flinging its energy right back to the cheap seats, thanks to Dolan's customarily zippy design choices.

The film’s ambitions might be on the limited side: it’s a clipped survival tale with little of the anguished spiritual dimension that end-of-the-world stories have summoned in the past. But Affleck has certainly surrounded himself with the right people.

Angel Has Fallen is almost worth seeing.

In a sickly-sweet genre, it’s almost bracingly sour.

The film suggests Inglourious Basterds dumbed down, pumped up, and ditching all pretension. If only it played like a spirited B-horror hybrid we could all get behind, instead of a ghoulish effects trip for the Resident Evil crowd.

Shot entirely in Welsh, this pristine debut from Lee Haven Jones has a methodical chill to it, laying steady groundwork for a buffet of grotesqueries. It’s horror-satire, with its eye on environmental plundering, and a demonic revenge to exact.

What makes Mistress America peculiarly frustrating, though, is what great potential it whips up – for a good half-hour it’s a fast and fluid pleasure, waiting to curdle.

While unlikely to steer future comedy in any direction you could identify – it’s barely in control of its own running time, frankly – the film is genuinely silly, at a time when silliness is quite welcome.

It’s impressive how many layered twists Dark Web inflicts after its simple start, suggesting the tendrils of a conspiracy proliferating so quickly and steathily there’s no undoing them.

While Bill Skarsgård only fitfully impresses as Count Orlok in Robert Eggers’s chilling remake, Lily-Rose Depp proves she’s one to watch.