Wendy Ide

It’s a chipper, self-consciously adorable romp that will no doubt delight existing fans of the television series. It is, however, laser-targeted at the youngest audience members.

It’s a wildly uneven mess.

Although a little too performatively Scottish at times, this is a competently made weepie that should please fans of the book.

It requires a rare ineptitude to take what is famously one of the most terrifying movies ever made, recycle pretty much everything (including Tubular Bells on the score) but neglect to include the scares.

The comic potential of the collision of personalities is thoroughly mined: Lazaridis the diffident visionary; Fregin the extrovert oddball; Balsillie the driven, hyperaggressive alpha male.

The final message of hope is resolutely upbeat and desperately needed.

Grisliness occurs, accompanied by a score that sounds like knives being sharpened on violins. It’s thoroughly unpleasant, but that’s rather the point.

Minor quibbles aside, this is a remarkable achievement, and a persuasive argument in favour of carte blanche creative freedom for Edwards in whatever he chooses to do next.

This is an archetypal Anderson film: mannered, fussy, obsessively designed – normally irksome traits, but in this alchemic instance it’s an utterly delightful combination.

It’s maliciously effective, up to a point: an enjoyably lurid piece of classy-trashy psychological warfare. Unfortunately, both the plot and the performances boil over in the third act, and the film loses much of its icily calculated cool.

The space that Mungiu leaves, both physically, with his immaculately composed wide shots, and temporally, in the unhurried plotting, allows for a satisfying complexity, and an eventual swerve into dreamlike symbolism.

Ultimately, Dumb Money may not be as revealing about the financial markets as it is about the rallying power of the internet.

Watching the cast of Expend4bles, the latest instalment of the thunderously dumb veteran mercenary franchise, sweating and straining their way through the “casual banter” section of the screenplay is like watching contestants on The World’s Strongest Man attempting to climb a ladder while carrying a tractor tyre. It’s painful.

Unfortunately, it all rather stumbles with an overwrought final act that disintegrates under scrutiny and hinges on a key character’s unlikely ability to remember, verbatim, every word he has ever read.

The volcanically sweary dialogue doesn’t quite disguise the naivety of the feelgood trajectory, and the ending feels clunky, but this is a boisterous and disorderly charmer of a picture nonetheless.

It’s enjoyable, if familiar.

It’s admirably understated film-making, shot in restrained black and white, with a tight aspect ratio that evokes the walls closing in around Donya during the long insomniac nights.

This is a giddily entertaining and celebratory drama that hints at the emotional bruises under the sparkly lurex leotard and false lashes.

It’s a solid, sensitively handled study of the aftermath of a trauma, elevated by tricky, unexpected revelations about Park.

Allan Brown, a textile artist, speaks eloquently of the rich symbolism of taking something that is a source of pain, stripping it of its sting and, over the years, gradually reshaping and repurposing it into a thing of beauty.

The brisk rhythms and energy of the storytelling ensure that the pace rarely flags, and that every frame of this film about the business of death is bursting with life.

Whether or not there’s a factual basis to the story, it’s undeniably an absolute blast.

The first feature film from cinematographer Ellen Kuras is a satisfyingly textured portrait of a remarkable and unusual woman, who had an almost Zelig-like gift for bearing witness to key moments in history.

There has been no shortage of films that deal with Europe’s current refugee crisis over the last decade or so. Still, this picture, with its supremely confident handling of a fractured, fragmented structure and its twin driving forces of compassion and fury, is undoubtedly one of the best.

While there’s a sense that Korine is fully at peace with a lack of meaning in his work, it’s doubtful that he was aiming to be boring.

It’s a gripping piece of film-making: a propulsive, kinetic account of a grassroots campaign captured at what would seem to be considerable personal risk to both the subject and directors. And as a snapshot of a curdled, corrupted political system, it is eye-opening and at times genuinely terrifying.

While there are no surprises here, there are visceral kicks to be found in the businesslike efficiency of McCall’s retribution, and the devilish glint in Washington’s eye as he delivers it.

The picture, by Mexican director Alejandro Monteverde, is an earnest and well-intentioned attempt to engage with a very real and harrowing issue. It’s also a thunderously crass and manipulative movie that is hampered by erratic pacing, pantomime bad guys and an overfondness for shots of Caviezel weeping God-fearing, manly tears.