The film and its accusers turn out to be on the same side: Mignonnes attacks the pornification of girls and young women by social media and society in general; it is about the false promise of liberation in this kind of sexualised display. The offending scenes are gruesomely unwatchable – deliberately so.

There are some effectively nasty kills (this is no PG-13 reboot) and Green’s visual eye often results in some impressive imagery but both the look of the film and the script feel confused. Green can’t seem to decide whether he wants it to be gritty and lo-fi or slick and cinematic and so ends up awkwardly between the two, anything resembling an atmosphere sorely missing.

Fares’s gaunt, handsome face so eloquently conveys vanity, but also a poignant emotional woundedness, anxiety and self-pity.

Director Kyle Patrick Alvarez deserves all the praise in the world for the way he cranks up this pressure cooker script. The Stanford Prison Experiment begins with giggles but ends in full psychological break.

The Little Stranger is fluently made and really well acted, particularly by Ruth Wilson, though maybe a bit too constrained by period-movie prestige to be properly scary.

Succeeds as a probing look into the mechanics of an epic lie, and because of the emotion at its heart.

What Meadowland refuses to do, to its great credit, is conform to expectations.

With Hathaway at its centre, The Idea of You is on far surer footing, in small moments almost threatening to be something far greater but settling into being perfectly acceptable instead, a plane movie par excellence.

There’s real, seat-edge fun to be had here, the sort of fun that’s too often missing from modern horror.

With this startling and sombre documentary, Mexican film-maker Rodrigo Reyes has conducted an experiment in verbatim cinema, or what you might call witness cinema.

Vie Privée canters along to a faintly silly, slightly anticlimactic conclusion and audiences might have been expecting a bigger and more sensational twist. Yet Foster’s natural charisma sells it.

Saturation point when it comes to quirkily dysfunctional families in over-soundtracked dramedies was reached long ago.

It’s a thoughtful, honest and touching work, especially for women who love women, and also love canals.

An all-star cast and some showstoppingly horrible hair can’t save Ridley Scott’s medieval epic.

Thanks to the breezy chemistry between its largely Inuit cast, Slash/Back has an endearing charm that is hard to resist. From a first-time film-maker, this is a fresh, entertaining update on well-worn tropes.

It’s unfortunate that Byrne’s offering such a tremendous performance in a film that is, to put it as bluntly as possible, so very dumb.

The result would be hilarious if it weren't for its grisly and often deliberately pointed subject matter. There seems little to do but to laugh or retch. The fact that you may well do both at the same time is probably the film's intention. It has a serious point to make about the media's complicity in violence. But, in making it, it may well defeat its own ends with too many absurdist touches. [14 Jan 1993, p.8]

Cine-narcissism like this is always tiresome, and it isn’t any more palatable in a European setting.

It’s no surprise to learn Kostanski has worked as a special makeup artist on bigger budget projects such as Suicide Squad and It, but this proves he has a way with actors as much as a knack for latex and fake blood.

Despite Fine’s conversational interviewing, Wilson is still not enormously articulate or forthcoming, though it’s nice to see him reminisce, however simply, and there are plenty of powerful, telling moments.

Like a lot of topline Korean films, this prestige action thriller is a little too long at 137 minutes, but it’s consistently entertaining throughout, and quite well-suited given the length to being viewed on a streaming platform.

It’s an elegant directorial performance from Herzi.

This is a film raised a fair few notches by the wonder of geekery, the absolute joy of seeing scientists living and breathing their work.

Even if the antics shown here aren’t really your thing, it is still a hoot seeing Gwar members get interviewed by a game Joan Rivers: you can tell that beneath all the latex most of them are sweet, normal folk who remained loyal (mostly) to one another and shared a vision for the group.

For those who like their dating movies with a bit of gristle, Fresh is a perfect match.

At all events, [Nemes] undoubtedly brings impeccable craftsmanship, and the performances and production design are strong.

The action is wrapped up with a slightly ridiculous reveal, which doesn’t quite make sense on its own terms, but Perfect Blue has its own kind of cult pungency.

The film is watchable in its quirky and wayward way, with some funny moments – though shallower than it thinks.