The Kupferer-Mallens are Chicago theater stalwarts, having founded their own company, and the affection everyone involved with this project feels for the stage – as an art, therapy and practice – is so evident as to be contagious, even in the film’s most theater-y meta moments.

Sweeney’s fight for bodily autonomy, against religious fanatics in Immaculate, transcends the screen in a way most B-movies like it could only pray for.

It’s a quiet film, and Panigrahi plays Mira with such poise and intelligence, conveying her innermost thoughts with a slight lift of the chin here or lingering look there.

[A] deeply disquieting and indeed enraging documentary.

Patel turns it into a very exciting and stylish movie. His previous acting work didn’t obviously point to a kickass action career, although his performance in The Green Knight might have given us a hint. He’s evolved.

Matt Vesely’s impressive debut ably stakes out its own territory, not least in the vast distances covered by a single on-screen actor and a handful of vocal performances.

I myself found it as extravagant and engrossing and doggedly mysterious as anything he has done recently, with luxuriously self-aware performances from Julianne Moore and Tilda Swinton, and an undertow of darkness often overlooked by yeasayers and naysayers.

The sheer sustained silliness of this spoof silent comedy is what finally compels admiration. It’s like chancing across a bunch of eerily gifted kids by the roadside putting on a bizarrely accomplished, very extended series of magic tricks and circus acrobatic stunts.

It is an absorbing, committed drama.

It is an invigorating and enlivening film.

There is a trio of excellent performances from Arabuli, Kankava and Dumanli: very good actors, very well directed, defining three personalities very different from each other in terms of age and attitude but bringing them together in a way that doesn’t feel forced.

A sombre, sobering work.

Hong makes all of this look as easy and fluent as breathing.

The hippo, as a German tour guide tells us at the very beginning, may look fat and placid and rather cute, but it’s fast-moving, aggressive and dangerous to humans; perhaps the film itself, so mysteriously distended with huge digressions and non-narrative scenes, is as exotically fleshy and strange as a hippo. Yet it has bite. And the hippos themselves are entrancing.

Film-makers Adéla Komrzý and Tomáš Bojar are interested not only in the individual subjects, but also the hidden machinations of cultural institutions.

Clever, heartfelt and frequently stunning, The Wild Robot offers the type of all-ages-welcome animated entertainment that will delight kids and leave a lump in one’s throat.

This is a bleak, bold, extravagantly crazy story which is emotionally incorrect at all times.

I can think of few documentaries that are more honest, self-scrutinising and revelatory about ageing, familial love and its limits, and the whole tragicomic process of dying.

The film is to its credit much more interested in psychology rather than tech, and the fine lines between avarice, rage and impotence that make the capitalist world go round.

There are a couple of not-quite holes exactly, but slightly threadbare patches. More importantly, the narrative isn’t really the point; this is first and foremost a tense portrait of a toxic relationship, and a brutally compelling one at that.

The point is not motive, it isn't the elucidation of the human mind; it is more the simple juxtaposition of horror and bourgeois normality as a kind of Neurotic Realist motif: sinister, enigmatic, disquieting.

Don’t Tell Mom is a justifiably sweet feat that makes latchkey kids across the generations feel seen. Refreshingly, it represents real growth for an industry that would much rather be left to its own devices.

In this film, nothing about mega-celebrity looks fun.

McAvoy is the most compelling reason to see this one. The original may be darker, but it didn’t have McAvoy.

It’s an absorbing drama given sympathy and life by two very high-calibre performers.

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 warm, it’s breezy – it’s a burst of summery family fun that is sure to inspire long looks back at the old movies and Cobra Kai episodes while sparking renewed interest in martial arts apprenticeship. Anyone would get a kick out of it.

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.