What Rush has to offer is a great human drama, two dangerously talented men pushing each other to risky victory and a superb script, delivered with some mastery by Hemsworth and Brühl.

The Half of It is a strong, warm-hearted and quietly progressive addition to the expanding Netflix teen movie pack which treats its target audience with the respect they deserve.

Gray has given us tough, sinewy and memorable New York movies in the past such as The Yards and We Own the Night, but this is weighed down with a sentimental and self-regarding staginess.

Keough and Malone convey a palpable sense of yearning for one another during these sequences, but Kim and Bradley Rust Gray’s barebones script doesn’t match their efforts.

This is a highly enjoyable and bracing piece of work from Wash Westmoreland.

It’s a film which demonstrates that debate, the exchange of ideas, can be as thrilling as any ramped up action flick.

This new animated origin story for the chelonian adventurers is unexpectedly funny, with a rather stylish crepuscular design.

This is richly satisfying and powerfully acted work.

Becoming Cousteau is no hagiography, but greater distance might have also allowed Garbus to reflect more on the man’s environmental legacy.

Eat That Question does a good job of giving us just a taste of nearly every era in Zappa’s multifaceted career.

It’s a fascinating and frightening stranger-than-fiction tale and is an unusual choice for Kendrick’s directorial debut. She makes a convincing first-time film-maker, capturing the feel of a time and a number of places with ease.

Hidden Figures is a bouncy, almost garish feelgood girl pic. A movie that knows right from wrong and doesn’t see any use in complicating matters.

It’s a film that both looks and feels the part, a handsomely made love story that’s easy to fall in love with.

You could almost call [Eno] a meta-artist. And this is his meta-documentary; it is not, ultimately, as radical as it purports to be, or as revealing as it could have been perhaps (some external viewpoints would have been welcome), but stimulating and cerebral all the same.

The varied ingredients blend together well.

What an extraordinary story of sexism, violence, diplomatic bad faith and dishonesty on an international scale.

This desire to pull punches in presenting his darker side beyond occasional lip service makes for a viewing experience where we often feel we aren’t getting the whole picture for fear of offending the recently deceased.

It is a thoroughly intelligent production, a film festival event that could not exist in the rough-and-tumble of regular movie distribution but will I hope find a home on streaming services.

The film is so singular, it's hard to place. At times, its elegiac visual quality evokes Terrence Malick, but Lowery's scripting is tighter and more accessible. His is truly a fresh voice, exhilarating to hear.

It is an interesting work, delicately and discreetly animated, with a quiet visual coup in its final moments.

There is release at the end of this fine film, but no euphoria; just a sense of having come through a period of evil, the memory of whose darkness will never entirely lift.

By pairing real-life events with their animated interpretations, the film not only offers a fresh approach to documentary style but also draws out the tension between reality and artifice, private and public memory.

While it would have been good to have Nash’at properly cross-examine these men, his film’s careful approach pays handsome dividends. Hollywoodate teases back a corner of the curtain to reveal a Taliban regime stitched awkwardly over the bones of US occupation. It shows us the soldiers pining for the caves where they once hid, and mourning the glorious death that has somehow been snatched from their grasp.

It’s an intimate portrait that at times borders on meandering but it remains free of judgment throughout, with Einhorn and Davis using their background as journalists to let the story happen without coercion or commentary.

Gracia succeeds brilliantly in delivering a chilling warning about where Putin and his spooks might go next, by giving Fedor full licence to act the biblical prophet.

Hanks delivers an internal and sympathetic performance. Eastwood doesn’t burrow too deeply into his protagonist’s psyche, other than to visibly demonstrate that he’s haunted by the landing. Still, Hanks, who’s uncommonly, well, sullen, for much of the film, goes a long way to convey Sullenberger’s conflicted anguish.

This ingenious erotic thriller full of unexpected shocks is best seen with no foreknowledge and even better at a second viewing.

It is a sombre, thoughtful, restrained and often powerful piece of work.

It’s a glorious spectacle, but a slight drama, with few characters and too-rare flashes of humour. It wants to awe us into submission, to concede our insignificance in the face of such grand-scale art. It achieves that with ease. Yet on his way to making an epic, Nolan forgot to let us have fun.

The gentleness of the connection between Jason and Georgie gives Scrapper its warmth. Just hanging out together on camera is much more difficult than it looks, and Dickinson and Campbell manage it well. Regan looks like a very impressive and capable movie talent.

The tone wavers between psychological thriller and absurdist melodrama, and perhaps suffers for not settling on either, but it’s grounded by two terrific leads.

It’s possible to be slightly overwhelmed by the scale and the social realist detail of the film, which was shot over a five-year period from 2014 to 2019, but the hope and idealism of the young workers is moving.

Been So Long has a sweet-natured openness. It balances the tough realities of life in the city with the buoyant possibilities of romance isn’t easy, and succeeds a lot of the time. Michaela Coel is tremendous in the leading role.

A smart, often ingenious, new film ... What’s most exceptional about the end result is just how deftly [the director] weaves the enraging horror of a racially motivated police shooting into a zippy genre piece.

In fashioning a call for better sex education in the American school system, Liu is an enjoyably charismatic guide, as his doubts and questions about the birds and the bees mirror many of our own.

The Stranger avoids both neat explanations and contrived ambiguity, when narrative pieces are shuffling around to confuse audiences.

It is interesting that this new cut of the film gives a much fuller account of Harris’s ferocious consumption of cocaine, which I thought the film originally glossed over in favour of a more sentimentally traditional booze narrative when it came to discussing that picturesque concept of “hellraising” – although in both versions I liked Harris’s contemptuous refusal to be cowed or psychoanalysed: he indulged because he loved it.

The question of who gets to tell stories is discussed (spoiler: mostly white men, until recently), and for a 97-minute film, Subject squeezes in a lot of ethical biggies.

A fun ride.

While a certain disarming naivety infuses the work, it nevertheless packs an evocative punch, with a moral message about intolerance and the need to protect more vulnerable species. It’s also one of the few films that could potentially induce a psychedelic trip with its visuals alone.

Deadwyler’s performance is the driving force here. Without her, the audience’s attention might drift to the predictability of a plotline that hinges on Manny’s adolescent rebellion against his mum.

[A] highly entertaining and outrageously over-the-top Cinderella soap opera.

This is a derivative movie, whose comic entanglements are perhaps there to provide an alibi for the obvious plot implausibilities - but it’s well made, great looking, and nicely acted.

It all remains refreshingly and unusually old-fashioned. A gentle film aimed at the younger end of young audiences that will also find the approval of those that much older.

There is a fair bit of sentimentality here, but an awful lot of affection and energy as well.

If we’re nitpicking it’s fair to say that neither of the couple’s interior lives are as fully fleshed out as would be permitted in a novel, but maybe they don’t have to be: they function as avatars for romantic hopes and dreams as much as anything, delivering all the vicarious pleasure and pain that we’re looking for when we tuck into a good romance

It’s an altogether promising debut for Webley and should-be breakout for the young Wright, who makes you believe that though this film may ultimately fail to distinguish itself from the many tight, slight dramas at Sundance, Ella will always be remembered.

It’s an interesting, strange film, with a key moment withheld from the audience – and yet its omission, and the resulting ambiguity and mystery, is something we are almost supposed to forget about.

The tunes are gold, and as Jane approaches a local creek, resplendent in her gorgeous yellow gown, we get one of the most famous visual gags in the history of the musical.

Intense performances by Doupe and Bracken give it a real emotional pulse.

Dream Scenario is a cousin to Spike Jonze’s Being John Malkovich and Richard Linklater’s Waking Life, and very enjoyable; it is at once strangely light-hearted and heavy with menace.

This is one of the better films of its kind. [31 Jul 1954, p.3]

Such is the narrative offered here, with no examination of how and why he so brilliantly understands the relationship between pictures and sound; nor are there insights into his composing methods, or indeed his own musical influences and icons.

It’s a generous, sensitive study of allyship and what that really means in the day-to-day with Ferrell working out in different, often potentially dangerous, situations how to do the right thing.

Dolan's energy and attack is thrilling; his movie is often brilliant and very funny in ways which smash through the barriers marked Incorrect and Inappropriate.

This is a big, muscular picture which aspires to the crowd-pleasing athleticism of Spike Lee’s sports icons; it’s very enjoyable and there’s a great turn from Washington.

It's a tough, absorbing and suspenseful drama, excellently acted by its three non-professional leads.

This film isn’t really sure where it’s taking us and how, or if, it wants to surprise us, and the key scene with Klaudiusz doesn’t work.

Robin Campillo’s drama is sweet and neat, as ambitious as it is gripping.

Kill’s objectives are achieved with an energy and enthusiasm that make it a tasty piece of action cinema which doesn’t pull its punches; it’s finger-cracking good.

Lin-Manuel Miranda gives us an unashamed sugar rush of showbiz rapture and showbiz solemnity in this heartfelt tribute to Broadway talent Jonathan Larson, played here by Andrew Garfield.

The film coolly conveys the awakening-from-denial horror that their investigation spreads through the film industry and I admire the way it takes the macho cliched nonsense out of journalism in movies: these are not boozy guys being adorable and chaotic, but smart, persistent people doggedly doing their job.

[Pearce] gives us a carefully crafted dramatic setup, an intriguingly curated selection of suspects for the crime and all of it building to a fascinating, finely balanced ambiguity in the movie’s climactic stages.

Very few films or plays can survive the stigma of having an exclamation mark after the title, but Fred Zinnemann's bigscreen version of the Rodgers and Hammerstein musical, originally released in 1955, still has some breezy charm and robust American music, under those vast cloud-dappled skies in Cinemascope.

Joe also stands as a reminder of what a terrific actor Cage can be when he is able to harness and channel his wilder impulses.

It’s a gentle and superbly shot film.

The film is a contemptuous slap at boredom, at hypocrisy and at everything petty and mean. I’m not sure that it entirely transcends all these things, but there’s a rebellious spark.

You’ll shed a tear or two, possibly more.

The script crackles with such bleak little jokes like this, relieving the tension in a work that could otherwise prove overwhelmingly depressing and borderline melodramatic.

Elfar Adalsteins’ directorial debut captures well-trodden paths with fresh eyes.

Comic book movies have spent a long time striving to be taken as serious, grown-up entertainment but Thor: Ragnarok is almost an admission that you can’t play this material straight. This is probably the wisest strategy with Thor.

Her poems, read by Giovanni herself and the actor Taraji P Henson, made the hairs on the back of my neck prickle.

It meditates on identity and belonging, the poignancy of not being valued, not being seen, the transition from childhood to adulthood, girlhood to womanhood, sexism and cruelty. The energy and heartfelt good humour offset the moments of cliche and implausibility.

Compared with Mia Hansen-Løve’s resonant French house drama Eden, or Michael Winterbottom’s kaleidoscopic 24 Hour Party People, these beats sound tinny.

In narrative terms it never really develops any of its characters or relationships, yet its two utterly heartfelt lead performances make this a grimly authentic spectacle.

From a potentially creaky, cliche-filled premise (a gaggle of stereotypes are invited to a spooky old house where all is not as it seems), director Robert Wise leads us on a brilliantly unsettling journey.

Amid the current explosion of affirmative diversity-driven film-making, there is a kind of strength in such a self-excoriating and uncompromising point of view. Corbine Jr is one to watch.

Queen and Slim doesn’t entirely work. The credibility factor isn’t too high sometimes and there are big set pieces that don’t gel. . . . Yet this is a punchy, watchable film.

What I like about Among the Believers, a portrait of radical Islam in Pakistan, is how the first two-thirds of the movie strives to remain as balanced as possible.

This information needs to be shown to the public, and some will be drawn to it regardless of its form. But as a well-crafted film, it has a long way to go.

Director Lance Oppenheim takes a gentle approach, capturing some hilarious moments, but there’s nothing patronising or mean-spirited about his film.

Gage’s remarkably intimate portrait of female youth on the verge leaves you with a largely hopeful feeling that this particular group of women will make good on that advice.

[A] terrifically stylish work.

No one is a bad guy here, while all of them are also flawed, and the movie keeps the viewer wondering right up to the end what Jess will finally decide.

The tone of the film is sometimes a little opaque. There is some slightly cliched 16mm footage of subway scenes and indulgent home-movie material and Huntt’s own voiceover has something of the student graduation piece about it. But there is a rich, dense texture to this very questioning, personal film.

The script’s twists are a little predictable and some might query the way the Jewish characters are essentially noble ciphers. But, given the rise of the far right in Hungary at the moment, this is a timely tussle with a nation’s collective sense of shame.

There are some cheerfully amusing moments . . . . But really the banter and the elegance needs some substance in the script and it really isn’t here, or not enough of it, and the serious moments seem glazed in a kind of negligent unseriousness.

Kerr’s script doesn’t always match the quality of her interesting, layered lead performance.

Where Bloodlines excels is in the clever and often diabolical storytelling craft and visuals. There’s a decadence in the film-making that isn’t at odds with the campy nature of Final Destination but instead realizing its full potential.

It’s trite to say a debut performance is a revelation, but the whole film simply does not work without McInerny, who is fully convincing as a girl on an emotional precipice. It’s an astoundingly calibrated turn, one of barely lidded emotions that eventually skitter about

It’s high-minded, valuable work.

For anyone who values diverse storytelling, Peoples’ portrait of a hardworking woman on the up is a tale of hopefulness – and a reason to hope in itself.

Unassuming and old-fashioned funny entertainment isn’t exactly what we associate with this film-maker, but that’s what she has very satisfyingly served up here. It’s not especially resonant or profound but it is observant and smart, with some big laughs in the dialogue. The whole thing is enjoyably absurd though not precisely absurdist.

The Von Erichs endured so much loss, and Durkin manages to convey some of it.

Yannick doesn’t try blurring the lines between reality and performance in any Pirandellian way. The comedy is simpler than that. Yet there’s a touch of sadness as Yannick realises, as many other dramatists have done, that the actors are the ones getting the glory.

What first-time feature directors Alessio Rigo de Righi and Matteo Zoppis seem to be going for here is a Herzogian waking nightmare, but the necessary sense of horror and despair never fully comes off.

What could have been simply bizarre, sentimental or contrived here becomes an utterly absorbing love story.

Though this is familiar Lynch stuff, it is never dull, and I was often buttock-clenchingly afraid of what was going to happen next and squeaking with anxiety.