Wendy Ide

Some talk eloquently, some glare at the camera with cagey mistrust. But the point of this worthwhile and frequently fascinating project is that all have the opportunity to be heard.

For all its affable charm, there’s something slippery and disingenuous about this film.

The latest instalment of John Wick makes an art of pain in a way that is curiously life-affirming.

The camerawork is unnecessarily showy, full of swirls and flourishes, which further distracts from the central story.

[An] impressive and wrenchingly sad documentary.

It’s a slow burner which gambles that the incremental build of tension will keep the audience involved, even as the stoically inexpressive central character holds them at arm’s length. It’s a gamble that pays off

It’s a tonal mess, a film that aims to be an adorably quirky romcom but plays out as such a surreally purgatorial ordeal.

While this is a familiar story and backdrop, its tender, empathetic storytelling is elevated by handsome cinematography and heartfelt performances.

Carey Williams’s smart satire of the daily realities of racial profiling is a switchback ride that lurches between comedy and nerve-shredding tension, but loses focus in an extraneous coda.

Demoustier so supercharges her performance with charisma, she almost seems to sparkle.

This French and English-language drama is a film about taking ownership over the end of life; about dying personally and, if necessary, selfishly.

Like the characters it follows, this first feature from director Jaydon Martin is unpolished, honest and a little rough around the edges at times.

This Shrek spin-off is a breezily entertaining DreamWorks animation that harnesses the familiar appeal of the self-aggrandising feline (Antonio Banderas), while also adopting a distinctive and original graphic visual style.

Essential viewing.

This open-sore autobiography feels like the missing piece in the puzzle of this frequently brilliant, invariably self-jeopardising actor.

This thorough and informative documentary, from the team behind RBG, shines a light on a brilliant and uncompromising firebrand who paved the way for generations to come.

A terrific Penélope Cruz makes up for the lack of colour with her enjoyably strident turn as Ferrari’s permanently furious wife, Laura.

What’s crucial to the film’s success, however is the fact that, despite its candour about Lara’s pain, the film refuses to relinquish a note of hope.

Levy, who also wrote the screenplay and stars in the picture, has made a satisfyingly adult, bittersweet drama which argues that even a seemingly gilded life can be painfully messy.

Demoustier dangles doubts, but also raises questions about the difference between judgment and justice. The score acts as our guide through the story: neat, self-possessed string arrangements occasionally fray into something jagged, raw-edged and nervy.

Many of these jagged little vignettes are exquisitely realised, others are genuinely chilling. Whether they fully coalesce into a coherent whole is one question; whether they even need to is another. Renoir may leave questions, but it’s an elegant, thoughtful piece of filmmaking that digs into the guilt and confusion that underpins a child’s struggle to process death.

This well-acted outsider’s-eye view of the inner workings of the US armed forces is fiercely candid, in its condemnation of the brutality that is enmeshed in the training programme, and in its celebration of the bonds and brotherhood that grow between fellow cadets.

What elevates this raucous romp by music video director Lawrence Lamont is the crackling energy between Palmer (Nope) and singer SZA, making her acting debut here.

The community support for the embattled shop surprises nobody, except, perhaps Tannenbaum, the ageing hippy whose love of literature is evident on every groaning shelf.

Genre defying and genuinely unexpected, this intriguing urban fairytale takes the mythology of the werewolf story and uses it as a prism through which to view contemporary Brazilian society. Thematically rich, it weaves together fantasy horror elements with commentaries on class, race, sexuality and motherhood.

Eichner is on fine form with the scabrous spikiness of the first half of the picture, but neither he nor the film itself seems fully comfortable with the final descent into sentimentality.

This is immensely enjoyable stuff.

It’s a fun premise, but Lowe’s follow-up to her deliciously nasty 2016 debut, Prevenge, is disappointingly underpowered and slapdash.