Tom Huddleston

This is a confident, terrifically enjoyable film, superbly written, shot and performed.

It’s infuriatingly irresistible.

Packed with warmth and wit, this is a lovely lo-fi charmer.

What emerges is a sympathetic portrait of a genuinely idiosyncratic, outrageous individual whose towering musical talent never stood a chance against his rampaging personal demons.

It doesn’t entirely hold together; the relentless din and repetition flips from thrilling to exhausting and back again more than once. But in those moments when everything clicks...this is absolutely joyous.

The supporting cast is flawless, with a special mention owed to Brad Dourif as poor, doomed Billy Bibbit. But the script lacks the woozy, otherworldly subtlety of Kesey’s book, relying instead on pop psychology and finger-pointing: once again, it turns out women are to blame for pretty much everything.

Using home-video footage and talking-head interviews, Dinosaur 13 dramatically depicts the thrill of archaeological discovery. But the overbearing soundtrack and shots of weeping palaeontologists do feel a touch manipulative.

The film can feel truncated, as if only a longer film or TV series could do proper justice to the details of the story. But it’s a sensitive and moving tale nonetheless.

Folman’s vision is just too personal and obtuse, and the result can feel rather like watching someone else drop acid, enjoying their giddy descriptions of all the pretty colours but unable to fully engage.

A film with a fistful of memorable moments—most of them involving Bridges hurling insults at people—but not a great deal new to say.

Riz Ahmed is superb as Changez (pronounced Chan-Gez, not like the Bowie song),

It’s a wild, at times exhilarating watch – but an exhausting one.

If you’re a fan of the classic streets-to-stardom formula, this is a solid rendition.

It’s disappointing when Starred Up begins to lapse into soapy cliché.

The plotting may be a little ropey, especially towards the end. But ‘ID2’ has smart things to say about identity and social class, and strides confidently through the minefield of British racial politics.

This is a solid take on the material, but it could have done with a little less narrative incident and a little more cinematic sparkle.

There’s only so many times an audience will fall for the same manipulative editing tricks. Still, with fine performances and a rich sense of place, this is a promising start.

Asking far more questions than it could ever answer, Exposed ends on a note so flat and predictable that it undermines all that went before. But there are strange and memorable moments here, and a mood of eerie foreboding that’s hard to shake.

The film does approach Milius with a certain reverence, but it can’t disguise the fact that he’s a troubling, divisive figure: bull-headed, almost cartoonishly macho, staunchly right-wing and dangerously self-obsessed.

Overall, this is an enjoyable, compelling small-scale shocker.

If you enjoy improbable plot twists, overcooked dialogue and Hollywood legends champing on scenery, this adaptation is a highly entertaining slice of American Gothic.

The photography is starkly lovely, the slow drip of information is smartly handled and the central performances are appealingly ambiguous.

Dante plays the early scenes perfectly, racking up the clammy dread without tipping over into outright nastiness. But somewhere along the way, the tension dissipates.

This ridiculous, highly watchable, at points startlingly psychedelic action thriller is probably Luc Besson’s best film since ‘Léon’ (which isn’t saying a great deal).

Greater conflict (or simply more probing interviews) might have made for a more gripping movie. But what’s here will delight anyone who dreams of living free, sleeping rough and scoffing beans around the campfire.