Audiences hoping for lashings of graphic violence may be disappointed that not all of these problems involve gallons of blood – this is a relatively gore-free thriller – instead, it’s all aboard and anchors aweigh for some larky tension between likable characters who find themselves plunged into a nightmare scenario.

It’s an amusing, affectionate tribute.

Tamahori builds a largely credible aura, supported by uniformly strong performances and Gin Loane’s classy cinematography. But The Convert is one of those films with occasional moments that make you go “huh?”

[A] remarkably unguarded documentary.

These guys know how to hammer out a riff, with traditional chord progressions underpinning melodies that are easy to listen to but equally easy to forget afterwards.

This is certainly not a crime thriller in the dourly realistic “cold case” vein; it is outrageously over-the-top at all times, with crazy and almost dreamlike convolutions of plot, and yet its silliness is enjoyably dramatised.

Throughout the film, the band remain affable company.

I would have liked to hear more about Gena’s late mother and the family history generally, but this is an arresting portrait.

It’s an effective little thriller that knows the conventions and doesn’t stray too far from them.

Not a terribly profound movie, perhaps, but robustly performed and an interesting reminder of the dusty old debates on the point of being swept away by the great horror of the second world war.

It drags a little in places, despite the appealing animation style, which really comes into its own during the action sequences.

Inside Out 2’s view of growing up has nothing in it as powerful or real as the When She Loved Me song from Toy Story 2 – but there are a lot of entertaining moments, including a great demonstration of what sulky teen sarcasm does to the tectonic plates of your emotional geology.

Something has perhaps been lost in the edit. This never quite comes together.

The tears of Roger Federer, along with the tears of Rafael Nadal and even the tears of Novak Djokovic, are what finally give some point to what is otherwise a pretty bland, officially sanctioned corporate promo for the Federer brand.

Director George Kane keeps the energy up throughout, helped along by a game-for-it cast that know exactly how to pitch the material.

Smith and Clark, at the head of a very capable supporting cast, keep the movie on an even dramatic keel, with intelligent, thought-through performances putting life back into some familiar tropes.

While we’re compelled along by an urge to know the film’s secrets, convinced that like-father-like-daughter, a twist is on the way, it’s clear from the outset that we are being guided by far unsteadier hands.

Like I say, there’s nothing new here for even casual followers of the food crisis. But it will make you think twice about what you put in your supermarket basket.

This splatterfest horror feature is better than its predecessor much in the same way succeeding Covid variants are better than the early, more lethal strains.

Like so many Miike films, this is a firework display of strangeness, alienation and nihilism. It’s quite a spectacle.

It’s a sombre, sober movie but made with impressive artistry.

It crept up on me at its own measured walking pace – and it incidentally has the best and cleverest last line of any film I have seen this year.

The Bad Boys are still providing innocent amusement.

This debut from the writer-director Corey Sherman is a real four-leaf clover: delicate, unique and subtly magical.

While Hall’s script might keep us at a remove, her direction takes us closer to something that feels more real, managing to conjure the specific thrill of travelling from the airport to the city at night, the hum of possibility increasing with every mile and finding ways to make what could have felt like a static location come alive, putting us in the car right next to her characters.

It all amounts to a passable second activity watch at best.

The new biopic Young Woman and the Sea presents Eberle’s life as a broadly inspiring parable of female striving and triumph, its plot points readily mapped onto any struggle to break into a boys’ club.

I warmed to its sensitivity; it possesses an insistence that these difficult boys are vulnerable and scared kids (undermined only slightly by the fact that the actors playing them look well into their 20s).