Civil War is wan as satire. But it’s an action stormer for the ages.

Horrible, silly, reprehensible, enormously good fun.

Astaire’s dancing and Audrey’s charm sweeten a bitter pill. But unearthing this vicious artefact is not unlike exhibiting a medieval chastity belt.

Nothing Fancy is a rare documentary one would wish longer. The contemporary Kennedy is marvellous company: awkward, intelligent, amusing, realistic about mortality.

The amiable big-screen spin-off will satisfy fans but – unlike, say, The Inbetweeners Movie – is unlikely to win over those unfamiliar with the show’s pianissimo pleasures.

What begins as a twisted riff on Hansel and Gretel spirals into a grisly meditation on trauma, punctuated by unsettling dark-web videos, gaslighting and a supernatural ritual that is never satisfactorily explained.

La Cocina makes watching The Bear feel like listening to Enya in a garden centre.

So joyous and inventive is each scene that it proves easy to disregard the ambling lack of plot.

Mackey, in particular, is a powerhouse. The young star is matched well with O’Connor’s carefully calibrated, appealingly earnest script, which approximates a modern sensibility without striking a false note or straying from Emily’s contemporaneous moors.

For all its flaws, however, Origin does have power as both didactic treatise and drama of recovery. There is something reassuring being said here about the restorative power of work.

Many will have issues with the depiction of a largely benevolent military and political hierarchy. Some will worry about the necessarily terse summaries of North Korean and Russian polities. Almost everybody will shiver at the realisation that when a response to nuclear attack is required it is too late for any to be effective.

Nothing is safe and nothing is sacred in Julia Ducournau’s delirious new world. Rev up and get ready to run over everything the hotrods in Fast & Furious hold dear.

Featuring terrific female characters, endlessly funny sidekicks and a genuinely jaw-dropping score, this loose adaptation of The Snow Queen is the best film from Walt Disney Animation in close to a generation.

Beneath the zany antics and pastiche aesthetics – Ken Seng’s cinematography knows all the fly moves – the satire has plenty of bite.

Think Mean Girls mashed into Lindsay Anderson’s If ... But with more sublimated high-feminist discourse. Just perfect.

Good news for both lubbers and sea dogs. The recent cutbacks in Netflix’s animation department came too late to condemn this lavish, funny, playful adventure to the briny depths.

Just as Youri fashions outsider art – or survivalist dreams – from his doomed banlieue, Liatard and Trouilh craft an imaginative debut feature from the rubble.

It’s good fun. The critters are cute. The landscapes are burnt orange dystopian or pretty and pink. The action sequences – some utilising the Philippines’ national martial art, arnis – are staged with aplomb. The central conceit, however, feels unwieldy.

Along the way, Scala!!! (the number of exclamation points varies) takes in the history of a wider culture. You could see the community under discussion as that swimming in the long wake of punk.

The grander schemes of those who seek to monopolise elder care add weight. Mostly though, this is just tremendous fun.

Composed of small gestures and unspoken truths, it’s a bonsai miniature of the vastness of overwhelming grief.

Dupieux, as ever, writes, directs, shoots, and orchestrates the madness. This isn’t as conceptually neat as Deerskin nor as playfully intertextual as Rubber, but it’s consistently fun.

An engagingly offbeat meditation on the human need for affection and companionship. [08 May 1998, p.13]

My Old Ass sensitively and sweetly negotiates coming-of-age themes, first love, wistful summer recollections and wise-cracking dialogue.

A compelling and hopeful insight into the turbulence leading up to the 2021 coup.

Bones and All deftly segues between teenage romance, hinterland tableaux and genuinely unsettling encounters.

Has Denis Villeneuve succeeded where others – most notably Alejandro Jodorowsky – have floundered? Given the extensive runtime, it’s impossible not to think of Chinese premier Zhou Enlai’s alleged assessment of the French revolution: “Too early to say.”

How to Make Millions Before Grandma Dies, the debut feature from the writer and director Pat Boonnitipat, is a warm, witty tear-jerker improbably rooted in elder exploitation.