An exciting and often powerful piece of mainstream film-making that allows its heroes to emerge as normal people who make everyday mistakes. Highly recommended.

Harrison Jr is frazzled and electric; Russell is wounded and circumspect. The audacious drama is matched by musical cues from Trent Reznor and Atticus Ross’s score and a wildly impressive collection of tunes, running from A$AP to SZA.

It’s all very superficial, but carried off with impeccable style.

The script, written by the director and Tibério Azul, occasionally fumbles its dystopian framework. But the journey has enough vigour, underpinned by ideas on autonomy and ageing, to sustain its adventure.

A perfect late-summer diversion.

A small film about great matters.

For all the gloom, this is a lovely, heartfelt creation from the Oscar-winning animator.

Energy does not buzz around this film, but it swells with decency, humanity and quiet bravery.

The directors do good work in conjuring up a remote era and teasing out still extant racial tensions. One does, however, end up yearning to hear a little more about how the legal team went about their work. A good complaint to have.

A film that is no less thrilling for its sober rigour.

This is an uncomfortable film, but one that sweeps you along in its momentum.

Director McLeod — another of Lee’s fellow students — has fun with contradictory accounts, tall tales and faulty memories in a film that pulls the rug just as effectively as its subject and inscrutable star do.

A penetrating picture of big city loneliness. [14 Mar 1995, p.10]

Horrible, silly, reprehensible, enormously good fun.

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

Veiel structures his film with grace and guile.

The latest film from the Dardenne brothers, a heart-rending tale of misused immigrants in contemporary Belgium, arrives just two weeks after Frank Berry’s Aisha pondered similar misfortunes in Ireland. Both are roughly in the social-realist mode, but the tone and the perspectives are quite different.

White Riot is here both to educate and to serve the nostalgists.

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

A fine yarn that arcs towards a memorable denouement.

What most sticks in the brain is the film’s incidental meditation on the mythology of England from distant past to speculated future.

Between Kurtz and Stigter – a Dutch journalist who authored Atlas Of An Occupied City: Amsterdam 1940-1945 – no stone is left unturned.

Colin Farrell’s central turn, a lovely, soulful study of melancholy, is one of his best performances to date.

The set list could use a few more upbeat numbers, but the project finds a heartfelt focus in the fans, who sob, snivel and bawl their way through loud, dramatic singalongs. Trembling manicured hands hold thousands of iPhones aloft.

The Creator sticks to a strong, pulpy narrative that never lets up in pace. There are vast action sequences and intimate, scruffy fight scenes. The film is, however, as memorable for its cinematic texture as its twists and turns.

A lively, coming-of-age fable featuring Rockwell’s family – including wife and former Fresh Prince star Karyn Parsons, daughter Lana and son Nico – Sweet Thing has been described by Tarantino as one of the most powerful new films to emerge in years. It’s certainly memorable.

Following on from Harry Wootliff’s infertility romance, Only You, this confirms the British writer-director as an unmissable talent.

By the time we finally see the leading lady, La Panthère des Neiges – as the film was called at home – has long since privileged the journey over the destination.