Curiously flat ... From the opening few frames through to a clunky introductory sequence, there’s something frustratingly off-balance about Georgetown.

It’s overripe and improbable, but you’d need a flinty heart to resist the message of solidarity, that if you spend time with someone, anyone, you’ll find common ground.

A little more nuance and historical depth would have been welcome, but this will be serviceable entertainment when it gets to streaming, as long as viewers have a supply on hand.

Gavras has seized his chance, staging this uptempo, carnivalesque crime pic with panache and wit.

A tense, knotty puzzle ... It’s a drama that moves like a thriller.

Elsie Fisher is magnificent as a vulnerable teenager facing trouble at school and at home in Bo Burnham’s gripping drama.

Birdman is a delicious and delirious pleasure.

I have to admit, in all its surreal grandiosity, in all its delirious absurdity, there is a huge sugar rush of excitement to this mighty finale, finally interchanging with euphoric emotion and allowing us to say poignant farewells.

It’s a flawed, undigested film that, like Sorrentino’s movie Youth, is knowingly indulgent of old men’s foibles. But there is one great scene in which Berlusconi, just to prove he’s still got it, cold-calls a woman out of the blue posing as a realtor and tries to sell her an apartment off-plan.

It really is such a blatant copycat job, ripping off Cars note for note and lifting so many elements – from talking driverless cars to the dim-witted, buck-toothed sidekick – they might as well have called it Carz.

The incessant bloodshed is delivered with imaginative aplomb in this witty reboot of the 90s trash franchise.

With its clifftop bullfights, expansive Pritam songs and squillion-rupee budget, nobody is likely to come out feeling short-changed. Yet the sight of multigenerational superstars navigating a messily unravelling plot suggests Kalank’s lasting value may be as a carefully colour-graded selfie of an industry – and, in this election year, perhaps an entire nation – in flux.

The Fleabag star’s detailed performance in this missing-child thriller makes its myriad implausibilities all the more dismaying.

In all her signature deadpan intimidation, Huppert somehow gives the impression of being an exceptionally intelligent and self-possessed person who has never before acted in a film.

Despite fine performances from Gina Rodriguez and Lakeith Stanfield, the debut film from Jennifer Kaytin Robinson never strays from the genre’s cliches.

Everyone here emotes like they’re acting in an electric toothbrush ad.

This is a long film, but there is something so horribly compelling about its unhurried slouch towards the precipice.

The film itself fails to overwhelm – mostly proceeding along dully familiar lines and anything but radical.

There are scenes that snap together nicely with some sharp and nuanced observations. But the film is saddled with uninteresting surface-level characters. There’s a phoniness exuding from the entire project, made all the more discouraging since the plot-light, shaggy dog story is trying to feel so real.

Under Slee’s direction, even the teensiest creepy crawlies find themselves noted and taxonomized; it’s encouraging to see a format that generally sets audiences to non-specific gawping attempting to focus and refine our gaze.

The eye is caught and sometimes diverted – with its Slush Puppie palette, Wonder Land is uncommonly pretty – but very little about it sticks.

This is the most insidious type of knockoff: the one that sincerely expects you to believe that it’s the real thing. Leave it to Netflix to take the fun out of incompetence.

Buckley provides a vitamin boost in every scene.

But we’re not fooled. This is an elaborate Dadaist joke, the funniest part of which is that it’s not in the least bit funny.

It couldn’t be more boring than this. It seems counterintuitive to say it, but there is something pretty soulless about this new Hellboy franchise.

The comedy is fundamentally hobbled by the split in narrative focus between Jordan and April. We are never sure who is the heroine here, who has the comedy underdog status, who we are supposed to be rooting for.

An opaque, but beautifully composed film.

But the storytelling is unevolved compared with the animation.