Garbus’s approach is respectful, never hagiographic and allows room for consideration of Cousteau’s professional regrets and personal failings.

Kendrick’s measured approach pushes against genre expectations — which will no doubt disappoint viewers accustomed to streamable docuseries. Yet that makes her film an assured subversion which elicits both engrossing chills and surprising humor.

A comprehensive remembrance of Radner’s public legacy is underpinned by an engrossing insight into her private struggles, making for an informative and poignant showbusiness story.

Everything in Hidden Figures is smoothly efficient but also a little anticlimactic and frictionless — the story’s happy ending a little too easily achieved.

The film’s randomly generated structure manages to cohere enough to make the experiment mostly a success.

Even those with only passing knowledge of Williams’ challenges—with drugs, alcohol, and self-esteem—aren’t likely to find any new revelations about the comic genius.

Everyone loves a conspiracy—which is one of the reasons that A Gray State, a tantalising and fascinating real-life story, makes for compelling viewing. But it’s also supremely timely.

Arab critics may lament that Israelis are telling their stories, but they won’t dispute the gritty reality on the screen.

Performance aside, the key issue is that endless griping about a shitty marriage – even the marriage of arguably the pre-eminent figure of 19th century literature – is a drag.

Eternal You acts like a modern day Wizard Of Oz as it lifts the curtain on the intricate processes of bringing the dead to life.

Bispuri and her actresses offer a striking study in contrasts.

Though not always as confident outside of the cockpit, Sully mostly earns its crowd-pleasing, lump-in-your-throat sentiment.

Stylistically bold and youthful in approach, if sometimes a little uneven, it’s a picture packed full of ideas and fizzing energy.

This is a documentary that carefully, meticulously builds a case and then blindsides the viewer with revelations, second thoughts and fresh evidence that makes you reconsider everything you thought was certain.

The result is the depiction of a seemingly sealed-in, quasi-carceral world, revealing how much China’s current economy – after decades, and multiple phases, of Communism – is now built on old-school sweatshop capitalism, with youth a readily available, and very disposable, commodity.

It’s a work of undeniable historical significance.

Crucially, underneath the music and the soft-focus romance Been So Long makes some poignant observations about community, family and the importance of connection.

Wright crafts a hyper-elaborate set-up and delicate drip-feed of information which make spoilers an equal crime, but The Stranger is more of a felt experience than a traditional policier; it’s all about the hunt, not the crime.

It evokes a specific time and a place so vividly that you can almost taste the stale cigarette smoke and cheap beer. But while the picture affectionately skewers the youthful pretensions of the aspiring artists, it also allows the students an overly generous space in which to pontificate and navel-gaze.

Joy Ride could easily have felt like a series of increasingly outrageous skits but, thanks to the chemistry between its leads and the tonal confidence of first time director Adele Lim, it ultimately lands as a raucously authentic comedy.

Despite all the influences that have been brought to bear on Cryptozoo, it still very much feels like its own creature.

To be sure, there are meaningful observations here about the ways that money warps relationships and how children struggle with their heritage. But by trying so hard to concoct a blowout party, the movie exhausts and frustrates as much as it enlightens and delights.

It is a warm, engrossing fantasy.

Michell’s film is as defiantly traditional as the wallpaper which decorates the Bunton’s house.

Director Baltasar Kormákur and his actors err on the side of restraint, delivering a balanced, absorbing human drama.

Magaro, never allowed to explain his character, does a terrific job with internalised anguish, keeping it in check so it’s a presence in the car but not one which prevents him demonstrating his love for his kids, over and over again, in whatever way he can.

With a terrific lead from screen and stage veteran Hélène Vincent, this is Ozon in his fine-wine register, but with acerbic notes.

More concerned with creating a slowburn of discomfort than with deploying jumpscares, it is driven by first-rate performances from Bracken and, in particular, rising star Doupe.