As a love letter from grown-up Riot grrrls to their growing-up daughters, it’s a lovely cross-generational gesture.

Many will retain understandable uneasiness about the project, but few could deny the technical brilliance and dedication to an austere brief. An essential watch. Though maybe just the once.

One Life breaks no new cinematic ground. But it tells a story worth hearing. And it allows an indisputable great one more chance to show us what he can do.

This is softer, more emotional and in some ways, more obvious, than Angelopoulos's other work, yet it has a memorable, moving grandeur. [11 Jun 1999, p.13]

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

There remains a warmth and goofiness in Lehtinen’s performance that harks back to Napoleon Dynamite as much as it recalls such similarly themed bro pics as High Fidelity and Clerks. It’s enough to restore one’s faith in the near-extinct subgenre once known as the teen comedy.

Here is a film clawed up from the damp soil and smeared imaginatively across the screen. It is unlikely to be confused with Wild Mountain Thyme.

Nobody with a sense for contemplative cinema will be left unsatisfied by Notturno.

Joshua James Richards’s poetic cinematography – allowing in sunsets that drag us back to the America of John Ford – contributes to the queasy sense that redemption can come from landscape. Those sorts of conflicts are everywhere in a film that is quietly at war with itself throughout.

Allegories are unavoidable. The walk is American capitalism. The walk is life itself. It requires, however, no such connections to enjoy the best King adaptations in many years.

There is a lot to like here, not least Ray Winstone’s Papa Bear. The forests are Skittle-coloured. The set pieces are wild and kinetic. But it is Banderas’s star power that saves the day.

More analysis of the films would have enriched this entertaining chronicle, but it remains a rollicking account of the most important movie partnership since Powell and Pressburger.

James Watkins’s version easily justifies its independent existence, however. Four first-rate performances find new energies in the story. The shift in nationalities adds other interesting angles.

Having honed their film-making through endless online pastiches, the directors know just how to time the stomach-jolting jump scares. There is forever a hand ready to grab your unsuspecting ankle.

McConaughey and Ferrera prove the most delightful endangered bus companions since Keanu Reeves and Sandra Bullock in Speed, exhibiting just the right balance between tension and comradeship.

This is a cinema of introversion, concealment and evasion. Nothing is given up easily.

Pritz collaborates commendably and sensitively with his subjects.

In Mendonça Filho’s slippery moral universe, revelation offers neither catharsis nor closure, only the squeamish knowledge that some nightmares end, and others are obscured by history.

Fans of the playful meandering of the Romanian auteur Radu Jude will likely enjoy the haphazard storytelling and epic travelling shots.

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.

Pitched somewhere between The Social Network and The Thick of It, BlackBerry brings a welcome touch of anarchy to the corporate drama.

The jokes are funny and weird. At its heart, there is a story worth caring about.

[Hania] carefully sidesteps ethical questions about the use of performance alongside archival evidence with a clear-headed chronicle of a tragedy and of wider Palestinian suffering.

Late Wenders sits at an odd angle to the young man obsessed with wandering and with the United States. There is a sense of a busy mind eager to share enthusiasms. Its generousness is part of the appeal.

Everybody’s Talking About Jamie, for all its razzle-dazzle, never loses sight of its northern working-class roots.

Moratto and Thanyá Montesso’s script is precise and minimal. Christian Malheiros and Tales Ordakji make for a wildly charismatic screen coupling.

Brian and Charles themselves, meanwhile, make for an irresistible two-step in a delightful tale of friendship and loneliness, dramatised and written in beats that make one think of Wallace & Gromit without the clay.

The inclusion of older footage from the Armando Diaz school, where Genoa police kettled protests during the 2001 G8 summit, reminds us that previous generations have equally hoped for change.