Oakley’s film ends on an ambiguous though hopeful note. Usually, this sort of conclusion risks coming across as a little mechanically inspirational. But Jean is a complicated sort of hero, full of indecision and regret. It’s something bracingly captured by McEwen, who plays her as someone in a perpetual state of fight-or-flight.

Every aesthetic decision here seems carefully made, even down to the brightly painted frontier towns (the historically accurate choice), which play in jokey contrast to a literal “white town”, in all meanings of the phrase. That’s what makes The Harder They Fall feel so thrilling – it’s a film that exists in the past, present, and future, all at the same time.

The Many Saints of Newark is both instantly recognisable and somehow unplaceable. It’s fierce and brilliant, too – a work that both expands on and complicates the cultural legacy of The Sopranos.

It’s conflicted, messy, ambiguous, and imperfect, but it’s treated with enough of a delicate, scrupulous hand to test the moral waters and not degrade itself in the process.

Venom: Let There Be Carnage is a love story written in blood, sweat and the slime of half-eaten brains.

Sentimental Value doesn’t argue that art heals all wounds, but that it’s sometimes the only recourse for honest expression.

This is a low-budget horror helmed by a young pair of mavericks. It’s anchored around a phenomenal central turn by Wilde, who’s all twitchy eyelids and haunted relatability. Its practical effects are effective, rendering it dead in bloated, blotchy, dripping flesh. And when the spirits reveal more demonic, subversive desires, the tricks they play on the living are delivered with a taunt and a giggle.

Though it takes a liberal approach to biography, it’s so attuned to Emily’s creative spirit that it’s not implausible that this is how the author might have chosen to envision her own life if given the chance. Emily captures the soul of the artist, if not her reality.

When the inevitable comes for our protagonist, The Mastermind delivers it as one of the smartest, wryest punchlines of the year.

It’s rich thematic territory for the series, and slowly amps up the audience’s anticipation for the moment these two finally cross paths. When they do, it’s spectacular and audacious.

This is an audacious project and one which, for all its flaws, has much to commend it.

A berserk, angry, funny and exhausting analysis of sado-masochistic power games masquerading as loving relationships.

On a first viewing of the film, I was instantly impressed by Nair's narrative skill: the speed and certitude with which she draws you into her world, and the dexterity with which she interleaves half-a-dozen different stories. The second time, her sentimental streak was more apparent and more annoying, but Salaam Bombay still convinces as a modest, uplifting movie. [26 Jan 1989, p.15]

This lavish historical epic has plenty of campy treasure in it. [07 Aug 2013]

With this cast, you might have thought that Hytner didn't need to emphasise anything, but he does a lot of damage to the film's final half-hour by sending the camera off on wild, skyward missions, or slapping George Fenton's score on to the soundtrack with a trowel. In the last minute he repents for his sins, permitting us to leave the cinema with only the creak of rope and wood in our ears.

Hoskins is admirably twitchy as the crime-boss in the midst of having his henchmen culled, and being unable to work out who is behind it. [06 Mar 2000, p.21]

The special effects are gruesomely convincing, and Robinson views the world of advertising with a characteristically sharp comic eye. [25 Jul 1989, p.29]

It feels like She Will spends its entire runtime on the very cusp of a completed sentence. I was desperate for an explanation, but the film is frustratingly secretive – those answers, it seems, are still buried deep.

Blighted by development problems and a star whose downward spiral has been widely dissected by all, this superhero blockbuster emerges just as confused as predicted.

Ambulance is a purely aesthetic beast, made for those who like their films to look like they’ve been edited by someone in the middle of a panic attack.

Wish, clearly, has been made with care, but as its credits offer a whistle-stop tour through Disney’s history, it’s hard not to think – god, wasn’t it great when they made stuff as weird and fun and daring as, say, The Emperor’s New Groove?

Most of the callbacks are played for light humour, not self-importance. Yes, it’s easy to tell you’re being manipulated. But it’s just as easy to respond with: so what?

It’s well-performed and efficiently emotive. Just like the music of Take That, I guess.

Warfare’s violence feels unmoored without its context.

The Boogeyman is conventional horror, comfortably elevated – the same old monster in a shiny, new hat.

The tension of Thirteen Lives is implicit, and ramps up like a vice – how long until all these people’s luck finally runs out? But I do wonder whether all this soberness has prevented a good film from being an extraordinary one.

In Sing 2’s defence, the film is at least enthusiastic about its own overabundance, and the new celebrity voice additions – Halsey’s mollycoddled, rich-girl wolf or Letitia Wright’s street-dancing lynx – fit nicely into the mix.