As a star, Patel has rarely been better. And as a director, he grants an intoxicatingly gruesome vision of the kind of gritty vehicles he could steer in the future.

Rasmussen’s consideration of one man’s journey sheds light on the emotional legacy that can linger even after sanctuary is found.

Drawing from elements of his own childhood, Miyazaki has dreamed up a fantastical environment in which anything seems possible — including the potential to remake oneself.

The bleak warning of this environmental parable notwithstanding, this is arresting, frequently unsettling, cinema.

To say the performances are authentic is clearly stating the point, but the Blackburn family opens up to give an easily intimate portrait of themselves.

What begins as a bit of a lark blossoms into a moving reflection on old age and loneliness that should strike a chord across the generations.

Sirocco And The Kingdom Of The Air Streams is a beguiling and surreal story of sisterhood and survival.

Served up with lashings of homoeroticism, Bunuelian satire, a gay love story and an athletic dance number, its uncompromising nature will delight fans of the visionary filmmaker.

Spender...has made a rare kind of documentary – muscular and refined, and a splendour for the eyes.

Even when the film risks becoming overly precious, Ronan keeps Rona’s struggles gripping. It is a tale not so much of triumph as one of melancholy resilience.

The new film from ’71 director Yann Demange is best when it pauses to explore the father-and-son drama at the heart of this tale, as well as coldly examining America’s ruinous drug policy.

Saud, Nadeem and Salik are engaging and inspirational individuals. Shaunak Sen’s film does justice to their efforts but also allows us to see the bigger picture of a highly connected, complex world that humanity shares but seems intent on destroying.

Where some see coincidence, Wardle finds a true-life conspiracy, and pursues it all the way to conclusion after gripping conclusion.

While the thriller element remains compelling, it is ultimately eclipsed by the gripping focus on a man haunted by the past.

Bratton’s depth of feeling elevates the material, suggesting that, for the filmmaker, there’s something intensely cathartic and therapeutic in this retelling.

It may not qualify as a movie entertainment in the full sense of the word, but it is most certainly an edifying picture of social stagnation at its saddest.

Civil War is an exciting, often giddy pop pleasure.

Asgari maintains a tight hold on the material as the night unfolds; there is little sense of hysteria or panic, just a steady drip of the shaming consequences that follow from the breaking of one taboo.

It’s a lean drama that cuts no slack.

The Front Runner may cover a lot of ground and raise more questions about morality and the media than it can ever answer, but it remains a punchy, absorbing political drama.

Adult Children develops into a tale of guilty secrets, ulterior motives, honest conversations and sweet vulnerability.

A confident blend of comic-book élan and stirring sentiment, Spider-Man: Into The Spider-Verse finds fresh ways to tell the familiar story of everyone’s favourite web-slinger.

Kennebeck’s documentary offers a more sympathetic, thought-provoking version of what motivated Winner’s actions and the morality of whistleblowing.

Ceylan’s script reveals a stagnating provincial world, characters all handling their thwarted hopes and inevitable resignations in their own way.

For the most part The Life Of Chuck remains a moving drama that comes close to capturing the infinite value of an individual life.

Underneath the percussive, buoyant tunes and the colourful, breezy animation is a story about understanding that people who seem better off than we are may be carrying private pain that they keep bottled up inside.

The Seer And The Unseen director Sara Dosa has fashioned this documentary with modesty and sensitivity, in some ways as awed by the strange beauty and destructive power of the volcanos as she is by the nonchalant willingness of the Kraffts to put themselves at risk in the name of science.

Inside Out 2 is strongest when harnessing the essence of how our emotions define us and, occasionally, lead us astray. But Mann never condemns any of Riley’s feelings, recognising that each has its place.