The on-stage moments of Entertainment are revelatory but, unfortunately, some of the in-between meat of the film doesn’t quite connect.

Twisters is a fun film with some big setpiece scenes, and Ramos and Powell make gallant admirers for Kate. I do think though that the movies still haven’t given Edgar-Jones – so excellent in TV’s Normal People – the well-written big-screen role she deserves. Some spectacular stormy weather, though.

The clunky script feels like it’s been re-drafted and re-drafted to the point of incomprehension – blowing any chance of conveying a message. However well-meaning, it makes for a surprisingly dull watch. That said, my five-and-three-quarter-year-old (and clearly a few other younger people in the cinema) were a bit scared by some of the dicier moments of action-adventure peril.

Muddled, anticlimactic and often diffidently performed, this oddly passionless new movie from Paul Schrader is a disappointment.

It may be just more of the same from Fricke, but with his unique process, another incredible-looking lap around the world is more than welcome.

You might argue that there is a kind of hubris in all this, and its very giganticism condemned it to marginal status and a kind of cultural smallness. But what excitement there is in these folies de grandeur.

The Transfiguration is a character study first and foremost, spending all of its time with Milo. Problem is, he’s so opaque that as a protagonist, he’s completely impenetrable.

For cinephiles, this will be effective propaganda in service of a belief they already hold, a reaffirmation of their purist convictions from a simpatico mind. ... [But it] can sometimes slip into slightness, as Ferrara pads an already slim run time.

There is a tenous narrative logic - in which Jodorowsky himself, dressed in cowboy black, must gun down four desert-dwelling killers - which gives the film a measure of watchability. But it's hardly deep.

It’s a very strong performance from Kendrick, who disturbingly conveys the tiny and not so tiny symptoms of emotional abuse.

[Fahy's] dialed-in performance is thankfully matched by an overarching crispness to the proceedings – just enough flourishes, an enjoyable but not unbearable amount of stress, no wasted time, a perfect match of star, script and style.

Perhaps the film could have got under Charlie’s bland surface more. A creepily watchable drama nonetheless.