Filmed across the city’s boroughs, the thriller has a wonderful sense of place as this solitary man must rely on his savvy after one of his victims seeks deadly payback.

Josef Kubota Wladyka’s third feature film is a playful and whimsical confection, a deft blend of escapist kitsch and the real emotional heft that Kikuchi brings to the role.

Letting yourself be loved is not exactly an original message, but here it’s the comedy that counts and Schlesinger is generous with her script, giving even minor characters their fair share of jokes.

A vital cinematic document. ... The conversations could not be more stimulating, offering a glimpse of Black America past and present that is joyous, defiant and sobering.

Throughout, Portman, Ortega and Zeta-Jones bounce the script around like a ping-pong ball, with all three displaying meticulous timing.

The bittersweet realities of being a stranger in a strange land create a complex, thought-provoking human interest film.

The flimsy narrative just about holds together but the jokes, while plentiful, often feel like rehashes of something the Zucker Brothers did better decades ago.

In their scenes together, Clear and Duggan spark beautifully, navigating their characters’ emotional highs and lows with a mix of caustic wit and often moving vulnerability.

In truth, Buddy is not especially scary, its many kill scenes staged for laughs. But if this horror-comedy makes an obvious point — television shows meant for kids sure are weird — Kelly finds enough fresh ways to exploit the idea.

The narrative is often nonsensical, and the dialogue can lean towards the risible, but the action is kinetic and Statham as watchable as ever.

A tentative connection warms to something deeper in a poignant, slow-burn tale of hope and healing.

It all builds to a frenzied, nightmarish climax of greed, desire and full-tilt excess that takes a sharp-toothed bite out of society’s toxic obsession with women’s bodies, and should leave horror audiences hungry for more.

The film refuses to go in predictable directions, unveiling bizarre side characters and travelling down odd narrative backroads. But that occasional bagginess also allows for a richly textured picture bursting with energy.

Exceptional sound design and a superb central performance from The Handmaid’s tale star Nina Kiri, who is almost entirely alone on screen, mean the film casts a compelling spell, even when the narrative begins to succumb to genre cliché in its final reels.

This heartfelt picture can be overly familiar, but Poulter’s intensely interior performance lends the proceedings sufficient edge and fascination.

Consistently intriguing and filled with tender interludes, this elliptical drama is the filmmaker’s most experimental work – although it frustrates as much as it enraptures.

7 Keys is a nervy but uneven thriller that is rather let down by the fact that, while the two central performances are independently strong, there’s little discernible chemistry between them.

The picture deftly blends genres to create an arresting snapshot of the ricocheting carnage of sexual violence.

The film struggles to juggle its combination of rage and humour, satire and sadness, but the game performances mostly help gloss over the material’s familiarity.

This intriguing feature debut from Bafta-nominated Scottish short filmmaker Louis Paxton makes effective use of its striking location and a trio of strong performances from Domhnall Gleeson, Gayle Rankin and Grant O’Rourke.

I Want Your Sex ends up being more fizzle than sizzle.

Wilson sometimes struggles to make this feature-length documentary as consistently entertaining as his old series’ half-hour episodes. But he continues to mine surprisingly emotional moments from his wryly comic approach.

Characters longing for connection but simultaneously fearing it provides a strong framework on which Rachel Lambert builds an unpredictable relationship drama that feels both profound and fragile.

The result is a polished horror yarn that leads to a satisfying conclusion, and leaves the impression there is more than enough material here for a potential prequel or an extension of Solveig’s story.

It’s a gloriously punk spin on the historical documentary genre, channeling the humour and rebellious spirit of a people who have been part of “eight or nine different countries” during the 20th century, who have spoken multiple languages, but who have managed to maintain their own distinct identity nonetheless.

Ultimately, the picture is entertaining enough, in a somewhat tawdry way. Just do not expect it to hold up to forensic scrutiny.

While this stirring dramatization of Davidson’s life hits conventional narrative beats, sensitive handling and a remarkable central performance from Robert Aramayo do heartwarming justice to a remarkable life.

There’s considerable cumulative power to these intimate glimpses of kids, from primary school tiddlers to high school graduates, all facing an uncertain future.