Diving deep into dark material yet always remaining afloat, it’s a potent feature debut from Australian filmmaker Rodd Rathjen.

Our Time Machine is very carefully balanced between the personal and the professional. An elegant, focused piece of storytelling finds the space to explore the family history revealing the way in which these lives are inextricably linked with the history of China itself.

Byrne pops around the stage like a man rejuvenated, or perhaps one who has never aged, without as much as breaking a sweat. How wonderful for it all to be the same as it ever was.

The Truffle Hunters is a film as distinctive and lingering as the scent of the rare tuber that inspires it.

Ireland and Hill have crafted a layered Shakespearean adaptation that is intricate and immersive — a description that applies to the performances, including Winter in a role which was originally earmarked for Hill.

Full of interesting concepts and accomplished animation, Children Of The Sea is less than the sum of its many parts and just seems to lose its way after a very promising beginning.

Critical Thinking has plenty of heart, which unfortunately can’t make up for its fairly uninspired design and predictable trajectory.

If this Mulan can be faulted for excessive earnestness, the movie’s sweeping visuals and inspirational tone are hard to resist.

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.

The New Mutants’ greatest failing is that, even as a spinoff, its drama is puny and its spectacle nonexistent.

Thanks to Thea Sharrock’s graceful direction, this live-action movie never feels heavy-handed, speaking to its young audience without talking down to them.

This fitfully funny comedy — in which they must come up with the perfect song to stop reality from folding in on itself — offers little beyond nostalgia for an onscreen friendship that was once far more excellent.

This meditative piece sidesteps ponderousness thanks to its modesty and inquisitiveness.

The shared experience between the filmmaker and the subject of the film allows for a character study of depth and intimacy. However, the story itself – a slightly soapy ‘romance against the odds’ narrative – presents few surprises.

Sporadically very funny, always entertaining, tonally, it’s a blend of The League of Gentlemen and Deliverance, but with beatboxing rather than banjos, and considerably more drug use.

Tenet is as generous as any Bond when it comes to a big-buck opening sequence and regularly-scheduled, muscular set pieces. If anything, it showers the viewer with too much, over-balancing a ticking-time-clock finale which is only saved by Elizabeth Debicki’s raw acting talent.

Riveting from start to finish.

It is the resilience of individuals that seems to reflect a melancholy Cuba acutely aware of its past but curious about its future. There are times when Epicentro seems to lack focus but no matter where it roams, it always returns to its central concerns of colonisation, mythmaking and the way the true spirit of Cuba resides in its people.

Atmosphere alone is not enough. Abramenko fails to generate much in the way of empathy with the characters, resulting in tension being diffused by the fact that it’s hard to care very much for their outcomes.

Directors Henry Joost and Ariel Schulman have crafted a knowingly cheesy action movie that flaunts its adrenalised excessiveness, while Jamie Foxx and Joseph Gordon-Levitt, playing two very different men in search of the pills, never manage to transcend the project’s fundamentally generic, cartoonish design.

This taut, accomplished film recounts a dark episode in Guatemala’s history as a suspense-laden ghost story based on a myth deeply rooted in indigenous Latin American culture.

The collection of quirks, emotional connections, whimsy and humanity makes for poignant viewing.

The sliver of a plot sees An American Pickle stumble in its attempt to be a timely commentary, although its emotional underpinnings give the film a modest charm to relish.

A robustly old-fashioned production, it’s a tasteful film which reverberates with the feeling of a vastly different age. As such, it’s gentle escapism for the old, the young, and the nostalgic. Even Thorne can’t give it sufficient dramatic tension to thrill, but a lovely performance from lead Dixie Egerickx, plus stalwart support from old hands Colin Firth and Julie Walters, compensates.

It’s a picture of love that has led first to desperation and incarceration, and now to a sort of suspended grief, as the girls and mothers face an uncertain future, unsure whether they will ever be reunited, hope mixing with fear to the last.

Stuffed with gorgeous costumes, vivid choreography and deft tunes, Black Is King doesn’t have the depth or anguish that made Lemonade so epochal, but its more inspirational tenor and consistently high artistry make this a feast for eyes and ears.

And as a statement of intent, it’s unequivocal: Rowland combines striking visual flair with razor-wire character studies.

The car chases should be the escapist, high-octane fun part of the movie. But fun is in short supply in a picture which is fuelled by a full tank of ill-will and fury.