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.