It’s an absorbing, prickly tale, which Bhalla doesn’t tell as coherently as he could have — oddly fitting, considering this is a story about frustrated ambitions and unfulfilled potential.

Cheaply made, disreputable, and blatantly anti-authority, it's a winner all the way, what with a stunningly laconic performance from Mitchum, white-hot night-time road scenes, and an affectionate but unsentimental vision of backwoods America rarely seen in cinema to this day.

Of course we all hate insidious environmental destruction; it’s valuable to have movies about that. This one works fine enough. But let the other less-talented filmmakers make them.

Attenberg shares with the Oscar-nominated "Dogtooth" a weakness for overgrown innocence and deadpan perversity.

Viewers who can't get enough of ESPN's "30 for 30" docs will lap up this dual portrait.

If it hardly breaks any new ground either formally or politically, it's nevertheless a moving and highly professional affair, in which Brown and Thompson give particularly good performances.

Innocuous animated fare (with songs) from Hanna-Barbera, based on EB White's fantasy.

It’s a vicarious pleasure to let The Dig’s warm, gauzy light wash over you. Blanketed in defiant optimism and soaked in summer sun, it’s definitely one to watch with your nan. When you’re allowed to, obvs.

Athena’s dystopian view of our present day, showing a collapsing world with black-and-white mentalities, selfishly motivated, and with a desperate underclass left angry and adrift, feels like an urgent message. Anyone who loves their cinema to be spectacular, immersive and a rollercoaster ride will soak it up.

Hollywood begins to package its feasts, and That's Entertainment! has all the flavour of the Vesta dehydrated line.

There's a more courageous profile waiting to be made by someone who understands the man better.

In hindsight, it all looks like a rather tentative Hollywood essay at the race angle, but the actors do mesh together convincingly despite the obvious narrative contrivances, and debut girl Hartman's persuasive account of the everyday travails of the sightless is engrossing without overdoing the self-pity.

The pieces here are wonderful, even if the documentary fails to make any kind of overall analytical point.

For all its surface effectiveness, however, The Blue Room never quite makes that intangible leap into greatness. It’s a phenomenally executed exercise that, like its protagonist’s memory, is too wispy for its own good.

If the story were more arresting, and the filmmaking more original, then the notions of post-9/11 assimilation might be more compelling. As it stands, the movie just serves up another warmed-over Ellis Island rehash.

There aren’t too many surprises in the journey – especially if you’ve seen La Famille Bélier, the 2014 French film that Coda reworks – but writer-director Siân Heder’s deep affection for the Rossi clan is infectious.

Likely to be criticised for being less than murky Waters, even with its 'Odorama' card to scratch for olfactory pleasures/displeasures; but then it's clear from an opening helicopter shot that bad taste has found the budget to go middle of the road.

With so many firsts, a film might buckle under the avalanche of the accompanying expectations. Thankfully, Bros is so belly-achingly funny, sharply observant and wryly self-aware that it can more than withstand such a crushing weight.

Whether for little kids or very big ones, this Matilda is fantastically fun. Great songs, great performances and plenty of baddies to boo.

Cary's charm works as successfully upon audiences as it does upon the film's characters, and his relaxed wit plus Loretta Young's delicate loveliness makes for a frothily touching comedy.

Through some ingenious production design and costuming, Timestalker creates a time-hopping menagerie of madness, with Lowe centre stage and always game.

If you remember Larry Clark’s downbeat 1995 "Kids," a vastly more adventurous movie, you’ll feel a depressing sense of indie sellout.

Fans, of course, will fiercely argue that Buckley has so much more to offer. And in the strongest compliment to Berg’s affectionate portrait, she makes a similarly convincing case, with ample and tender grace.

It’s definitely a horror movie but a wonderfully witty one, not for gentle souls.

The filmmaking is patient and participatory, getting down in the dirt with the workers (in one case the lens is even soaked by a spray of sludge) and allowing several touchingly distinct personalities to emerge.

It's a well-constructed and long-overdue tribute, yet Fortune refrains from delving into larger questions that surround Ochs's work. Did the singer's unwavering dedication to agitpop leave him stranded in the '60s? And does Ochs's diminished legacy among today's essentially apolitical neofolkies amount to a second tragedy?

Pfeiffer is nothing short of heartbreaking in a part that requires her to be completely unvarnished.

Didn't Soderbergh notice there was pathos enough in Matthew McConaughey's beefcake proprietor, an ab-slapping, spandexed Peter Pan? Between this role and his owlish DA in the subversively sly "Bernie," the actor has finally found a way to subvert his six-pack. He's the magic here.