EO is at once a cinematic curiosity, a compelling drama and a harrowing portrait of cruel whimsy.

The Work is a rousing, arresting and ultimately cathartic call-to-arms for the power and value of rehabilitation.

It shows the desperation, the pain and the suffering, but it also reveals the spirit and fortitude of those tasked with caring for the sick.

There is a wealth of real humanity underneath The Truffle Hunters‘ polished surface; in key moments, the film’s high aesthetics fade away to reveal unvarnished, understated pathos.

Once Upon a Time in Hollywood is bold, beautiful and brutal. It’s Tarantino’s best film since Kill Bill, perhaps even since Pulp Fiction.

After the Storm is undoubtedly one of Kore-eda's best.

It's a singular and deeply resonant work that finds a mesmerising poetry amidst the chiaroscuro rubble of post-colonial Portugal.

While it is a triumph on an aesthetic level – Chen’s camera glides euphorically through temples and city streets, while the costumes and sets are meticulously authentic – it falls short because it struggles to combine the observational, detached style of its first half with the dramatic tribulations of the second.

In one truly magic moment, Buster Keaton – who had fallen on hard times and was largely forgotten – joins Calvero for his final gala performance. It is a cinematic meeting to be cherished and makes up for the maudlin and wordy melodrama that precedes it.

Booksmart has its undeniably crowd-pleasing moments, but it doesn’t stray as far from the status quo of the genre as it possibly could have.

McQueen and Newland’s assured script grips from the start and keeps us deeply involved in the characters’ fates.

Campillo doesn't edit for our comfort and we feel both the tragedy and the boredom of death.