In short, domestic viewers in search of outrage may find themselves a tad disappointed.

This is a rather conventional artist’s biopic for an unconventional person and it’s a film that ends as suddenly (and frustratingly) as it begins.

Already established as a wizard with buried irony, Pugh politely steals the film with a witty performance that makes sense of even the silliest moments.

As ever, Reichardt works in delicate movements as a storyteller. Magaro and Lee’s wonderful chemistry keeps perfectly in step with the filmmaker.

It’s not exactly a world you would want to live in but Jumbo, nonetheless, is awash with a sympathetic visual aesthetic that gives us some sense of where the odd passion springs from. It needs a strong actor to compete with that madness, and Merlant does not disappoint.

The plotting is, alas, a little slack in the later stages. There is a sense of flailing around en route to a reasonably satisfactory destination. Son remains, nonetheless, the work of a singular, oddball talent. Seek out.

At its best, Laura Fairrie’s entertaining film finds parallels between its subject and her many, big-haired heroines, especially Lucky Santangelo, the leading lady of such bestsellers as Dangerous Kiss and Poor Little Bitch Girl.

Shot in chocolatey browns amid the more comfortable suburbs of Copenhagen, Another Round underlines its later, more cautious warnings by reminding us how inexhaustibly tedious the drunk seem to the sober.

Cinemas are finally open; it’s hard to think of a worse way to mark the occasion.

The two flawless performances, presented in the polite shades of prestige British cinema, make a winning case for the virtues of seasoned affection. An irresistible treat.

It really isn’t worth trying to keep up. Immerse yourself rather in the sillier stunts and the genuinely sparky interplay between committed action stars: Michelle Rodriguez, Tyrese Gibson, Jordana Brewster, Cardi B (!).

This later timeline, featuring two of the planet’s most wonderful actors, adds clout to a film that, in stark contrast to most faith-based fodder, is gorgeously shot and designed.

There’s plenty of razzle dazzle here but little that passes for oomph.

It’s well-meaning. It’s lively. It’s moderately funny. But it is no Finding Nemo.

Not everything works in the admirably bizarre In the Earth, but nobody can deny Wheatley is back in his freak-folk wheelhouse.

Will Gluck, who presided over the disastrous 2014 adaptation of Annie and the misfiring comedies Friends with Benefits and Easy A, makes for a competent presence in the director’s chair. It’s the human stars, however, who truly shine.

Much of the project’s power is derived from Anthony Hopkins’s Oscar-winning central performance.

Caustic exchanges and lopsided family dynamics make for entertaining verbal donnybrooks.

The set-ups are every bit as tense as before. The cast continue to throw themselves at the material with admirable gusto.

A highly original, singularly beautiful film.

None of this would work if the lead actors were not so firmly connected to their complex roles.

In common with too many modern thrillers, the set-up spooks more than the climax and rather less than the real-life Warren exorcism tapes that play over the end credits.

In common with My Neighbour Totoro, there is no menace here, only strange fun aimed squarely at younger viewers.

Cruella plays like the result of an endless script conference that generated only partial answers to the questions being asked.

As a Liverpool fan, this critic is hardly the target audience. But if this consistently engaging film has a flaw – here are words I did not expect to write – it’s the truncation of the Man United years. It’s the only shock in a fond, fast-moving tribute.

Absolutely essential.

Watchable, if a bit lopsided, it’s far from the catastrophe that some of the more unkind reviews have suggested.

A fascinating and invaluable document for all of its considerable run time, State Funeral is an occasion worthy of the title.