This is a heavy-footed reboot which doesn’t offer a compelling reason for its existence other than to gouge a fourth income stream from Matrix fans, submissively hooked up for new content, and it doesn’t have anything approaching the breathtaking “bullet time” action sequences that made the original film famous.

There is something lighter, almost flippant and French-farcical about this new Von Kant: a man brought low by l’amour, inviting from the audience hardly more than a worldly, sympathetic shrug.

Even if you’re cynical about Brand’s motives, or just think that he’s a bit of berk, the film convinces you of the almost alarming sincerity of his political mission.

The artists’ blathering about the creative process and the nature of existence gets monotonous. It’s the ordinary folk that keep the film on-track.

Margarita, With a Straw is a sturdily conceived, emotionally direct drama.

While it’s unfolding before us, it provides – whatever else the courts insist we call it – stirring, seductive spectacle.

[A] good-natured and well-intentioned film.

More than just an Aussie horse opera, this film employs stunning scenery, technical flair and Kirk Douglas in two roles in its pursuit of an uplifting conclusion.

A thoughtful portrait of separate lives and destinies.

Where biopics often end up with a cardboard-tasting blandness, the focus on Jansson’s interior world gives this film moments that really come to life.

What really redeems the film are the brilliantly observed characters: these are archetypes of modern Britain that nobody really nailed before. Created by the principal actors themselves, they are generally portrayed with affection rather than condescension, and performed so convincingly that a newcomer might well believe they were real people.

Even in terms of its attempted emotional cross-section of the pandemic, Convergence spreads its net too wide.

Director Jack Hill went on to make plenty of classic exploitation movies, such as the more marketable Foxy Brown and Switchblade Sisters, but Spider Baby is him at his trashy, most eccentric best. [15 Jun 2013, p.23]

For me it never gets to grips with the real issue for Pornhub, OnlyFans or indeed Facebook: are these sites publishers or platforms? If they derive profit from the content they host, then should they be responsible for it, or not?

Though she might have turned the dial up, Burkovska conveys Lilya’s depression and anxiety, and finally her resilience, with a muted, powerful performance. This might be one to file away for the future, when the current conflict has ended.

Terence Fisher conjures up his customary dark fairytale atmosphere in one of Hammer’s best Frankenstein sequels. 

It always feels as if the people making this movie are having fun, and while that’s never a guarantee that the audience will too, it’s certainly the case here.

It’s entertaining enough and you never know where the story is headed, but it doesn’t quite hold together.

Roth thinks in hooks and punchlines, which keeps the copious slayings inventive and gratifying while also enlivening the connective tissue between them.

Stage Fright has serious fun with the business of acting, a trade that calls for both the cold, calculating Charlotte and the committed, caring Eve alike to transform into other people. And Hitchcock appreciates the charged atmosphere of an empty theatre, as well as the frisson when the doors are closed, the lights go down and audiences wait expectantly in silence, never knowing quite what will happen next.

This one, sadly, is flawed by that perennial problem of how to end a story with a great premise.

The formula is so well-trodden that it needed a sparkling jolt of energy to justify Penny traipsing his way through it again. Uncorked isn’t exactly corked but it’s definitely flat.

Art born of outrage has to be more rigorous – and we might also contemplate what merit there is in guaranteeing prospective terrorists a filmed account of their misdeeds.

Anything’s Possible is another needed step in the right direction – a just-fine high school romantic comedy about an unapologetic, bold trans teenager on a major streaming platform.

It shouldn’t work, but it does, due to the intelligence of the acting and the stamina and concentration of the writing and directing.

While the film does happen upon a real, and painful, truth of the problems that come from dating without a label, as things start to devolve, it becomes harder to understand how they ever found themselves here.

If there is a tonal uncertainty in this comedy, then that’s because there was a tonal uncertainty in the real-life events, and the movie nicely conveys how they were at one and the same time deadly serious and Pythonically silly.

The life it’s focused on, that of model turned second world war photographer Lee Miller, is an undeniably interesting one, but it’s only in the briefest of moments that the film justifies why it’s a narrative endeavour rather than a documentary and every one of those moments comes courtesy of its lead.