It is interesting that this new cut of the film gives a much fuller account of Harris’s ferocious consumption of cocaine, which I thought the film originally glossed over in favour of a more sentimentally traditional booze narrative when it came to discussing that picturesque concept of “hellraising” – although in both versions I liked Harris’s contemptuous refusal to be cowed or psychoanalysed: he indulged because he loved it.

The question of who gets to tell stories is discussed (spoiler: mostly white men, until recently), and for a 97-minute film, Subject squeezes in a lot of ethical biggies.

A fun ride.

While a certain disarming naivety infuses the work, it nevertheless packs an evocative punch, with a moral message about intolerance and the need to protect more vulnerable species. It’s also one of the few films that could potentially induce a psychedelic trip with its visuals alone.

Deadwyler’s performance is the driving force here. Without her, the audience’s attention might drift to the predictability of a plotline that hinges on Manny’s adolescent rebellion against his mum.

[A] highly entertaining and outrageously over-the-top Cinderella soap opera.

This is a derivative movie, whose comic entanglements are perhaps there to provide an alibi for the obvious plot implausibilities - but it’s well made, great looking, and nicely acted.

It all remains refreshingly and unusually old-fashioned. A gentle film aimed at the younger end of young audiences that will also find the approval of those that much older.

There is a fair bit of sentimentality here, but an awful lot of affection and energy as well.

If we’re nitpicking it’s fair to say that neither of the couple’s interior lives are as fully fleshed out as would be permitted in a novel, but maybe they don’t have to be: they function as avatars for romantic hopes and dreams as much as anything, delivering all the vicarious pleasure and pain that we’re looking for when we tuck into a good romance

It’s an altogether promising debut for Webley and should-be breakout for the young Wright, who makes you believe that though this film may ultimately fail to distinguish itself from the many tight, slight dramas at Sundance, Ella will always be remembered.

It’s an interesting, strange film, with a key moment withheld from the audience – and yet its omission, and the resulting ambiguity and mystery, is something we are almost supposed to forget about.

The tunes are gold, and as Jane approaches a local creek, resplendent in her gorgeous yellow gown, we get one of the most famous visual gags in the history of the musical.

Intense performances by Doupe and Bracken give it a real emotional pulse.

Dream Scenario is a cousin to Spike Jonze’s Being John Malkovich and Richard Linklater’s Waking Life, and very enjoyable; it is at once strangely light-hearted and heavy with menace.

This is one of the better films of its kind. [31 Jul 1954, p.3]

Such is the narrative offered here, with no examination of how and why he so brilliantly understands the relationship between pictures and sound; nor are there insights into his composing methods, or indeed his own musical influences and icons.

It’s a generous, sensitive study of allyship and what that really means in the day-to-day with Ferrell working out in different, often potentially dangerous, situations how to do the right thing.

Dolan's energy and attack is thrilling; his movie is often brilliant and very funny in ways which smash through the barriers marked Incorrect and Inappropriate.

This is a big, muscular picture which aspires to the crowd-pleasing athleticism of Spike Lee’s sports icons; it’s very enjoyable and there’s a great turn from Washington.

It's a tough, absorbing and suspenseful drama, excellently acted by its three non-professional leads.

This film isn’t really sure where it’s taking us and how, or if, it wants to surprise us, and the key scene with Klaudiusz doesn’t work.

Robin Campillo’s drama is sweet and neat, as ambitious as it is gripping.

Kill’s objectives are achieved with an energy and enthusiasm that make it a tasty piece of action cinema which doesn’t pull its punches; it’s finger-cracking good.

Lin-Manuel Miranda gives us an unashamed sugar rush of showbiz rapture and showbiz solemnity in this heartfelt tribute to Broadway talent Jonathan Larson, played here by Andrew Garfield.

The film coolly conveys the awakening-from-denial horror that their investigation spreads through the film industry and I admire the way it takes the macho cliched nonsense out of journalism in movies: these are not boozy guys being adorable and chaotic, but smart, persistent people doggedly doing their job.

[Pearce] gives us a carefully crafted dramatic setup, an intriguingly curated selection of suspects for the crime and all of it building to a fascinating, finely balanced ambiguity in the movie’s climactic stages.

Very few films or plays can survive the stigma of having an exclamation mark after the title, but Fred Zinnemann's bigscreen version of the Rodgers and Hammerstein musical, originally released in 1955, still has some breezy charm and robust American music, under those vast cloud-dappled skies in Cinemascope.