There’s a kind of blunt brute force to [Bloom's] performance – and he looks almost unrecognisable, as if he’s using certain muscles in his face for the first time.

It’s a brazen celebration of Jackson, which unlike Lee’s other documentary work doesn’t look under the hood to tell the whole story and examine some of the more uncomfortable inner workings.

For the most part it manages an adept balance between satire, sincerity and sheer silliness that’s ultimately winning.

Homemade is a diverting but indulgent collection, and the experiences of genuine hardship don’t shine through very much.

This is a fan-servicing but not necessarily hagiographic documentary.

The movie finishes on an unresolved chord, as if we have left the story months or years before the actual scandalous denouement. But it is arguably faithful to the mood of messy bewilderment and frustration that governs the ongoing situation.

A fascinating film.

Strong on lush cinematography, period knitwear and sincerity, but less effective in terms of historical plausibility, the mostly second world war-set drama Summerland is a mixed bag – a blend of fizzy sherbet lemons and humbug.

There is tragedy in this story, but the grownup questions of guilt and loss are de-emphasised.

It’s powerfully and pugnaciously acted, and horses are brought in – as animals often are in social-realist movies – as symbols of redemptive nobility. But I felt that in narrative terms it turned into a cul-de-sac of macho violence.

A smart and satisfying movie, although the crashy-bashy deafening score is so loud you can probably hear it in space.

The film isn’t perfect, and there is a touch of orientalism about the obsessive-affair-with-Japanese-man trope (which surfaced also in Wash Westmoreland’s The Earthquake Bird in 2019). But there is also something well controlled in the movie as it maintains its cool, even pace and Alexandra Daddario’s performance as the vulnerable, secretive yet emotionally open Margaret is smart.

The stranger-than-fiction weirdness and emotional dysfunction are what’s interesting here, and the film doesn’t quite take the lid off it.

A punchy, likable trio of performances are the point of this superhero action-thriller with energy to burn.

Work It is a fun, mostly entertaining and easily digestible concoction that does everything you expect but well enough for its lack of ingenuity not to matter.

Rogue isn’t offering nature-documentary realism, but director MJ Bassett is a former wildlife presenter whose interest in the South African grassland goes beyond mere backdrop.

It’s flawed for sure but still moves with more deftness than most (arriving after Eternals is a blessing for any Marvel film) and there’s an ending that suggests an awareness of its roots (post-credits scene aside), hinting at a promising way forward rather than back. Consider the curse of sorts sort of broken.

It all sort of comes together in the end, but there’s no earthly reason that it should all have taken two hours. Maybe the spoiler is the unfeasible length of the running time.

It’s thrilling to see the iconically ugly Transamerica Pyramid skyscraper get trashed in the finale, but otherwise the look of the film is pretty generic.

It’s an adequate, involving enough afternoon watch (faint praise: better than Geostorm) and for those with a certain destructive itch that still needs scratching, this should do the job.

Host is a lean, nasty little exercise that might not linger for very long but it shows what can be done during this difficult time. Once regular shooting resumes, we should look forward to whatever Savage comes up with next.

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 movie whose subtle thoughts are in danger of being upstaged by a potent and erotic love story that surfaces and then disappears, leaving you uncertain whether finally to be more interested in that romance or the ruminations it has interrupted – or enlivened.

Here is a strange, opaque but interesting piece from Vietnamese film-maker Minh Quý Truong: an ethno-fictional essay movie.

Robin’s Wish is not a wide-ranging documentary about Williams’s life. It only briefly sketches in his career, from early ambitions of serious acting at the Juilliard drama school in New York to standup stardom (“he drained every scintilla of laughter out of the crowd”) and Hollywood.

Reiner Holzemer has made a film that is intensely supportive and uncritical – as fashion documentaries tend to be – and to those of us who are outside the fashion world, it can be a bit opaque. Yet it is refreshing to hear creativity discussed with such seriousness and commitment.

Some might find her style, leaving no thought unexamined, a bit rambling, but Paula is doing something interesting here.

It all rattles along amiably enough.