Empathetic, funny and myth-busting – there are 300,000 children and adults living with TS in the UK alone whose condition will be better understood for this film – it gives you permission to laugh at the situation while feeling only compassion for the man.

This is truly De Palma–ville, and the filmmaker’s remake of Alain Corneau’s tale of corporate bloodletting, "Love Crime" (2010), is a welcome return to the carnal shockers that he does so well.

The resulting film is beautifully crafted and, despite what Hitch might say, definitely cinematic.

Apart from the confetti-cannon finale, this isn’t the hackneyed stereoscopic where things burst through the screen, but an immersive front row and on-stage spot at Billie Eilish’s 2025 world tour.

This enjoyably mean-spirited black comedy set in a grand country house will have you wondering who your real friends are – and what they really think of you.

Uniquely weird, subtly macabre, and utterly compelling.

You can easily see why Ichikawa's vision of the 20th-century Japanese-lit landmark is considered definitive; the way he elevates the story's soap-operatic elements to a level of extraordinary sublimity makes the melodramatic seem positively majestic.

Sensation trumps cogitation-unsurprising in a Hollywood production-which doesn't negate the enduring allure of this beautiful bauble.

Sure, some of the plot twists are a bit labored, and there’s maybe a henchman too many—but, trust me, you’ll be too busy rooting for the superhero with a snout to care.

Admittedly, the dialogue could be sharper – a few too many zingers zonk out – but Normal goes about its carnage with such sincerity, it’s impossible to resist.

It swings with aplomb from moments of tenderness and lightness to tragedy and cruelty.

Turturro, writing and directing in a register light-years from his nebbishy turn in "Barton Fink," has a more sensual NYC indie in mind.

Yun is quite simply spectacular as a woman who holds steadfastly on to her dignity and empathy, even in the face of unspeakable tragedy.

Rather than an intrusive flashback to the most challenging aspects of the pandemic, it’s a gentle reminder to recognise the hardships we’ve overcome and appreciate the merit in nonlinear progress, even if it takes time.

Having a backstage view of the momentous trip to China adds color, but the real takeaway here is a tone of dawning tragedy, sourness sneaking into even the most innocuous of visual records.

If [it] doesn't feel quite as revelatory as Keep the Lights On (2012) or the heartbreaking Love Is Strange (2014), it still impresses you with its quiet, confident maturity.

Emotionally charged, Last Breath offers a forensic study of cold professionalism in the face of unfolding disaster. It’s deepened, too, by a rich cast of supporting characters, including Lemons’s fiancée in Scotland, the surface crew who recall the fateful night and his teary-eyed dive leader and mentor.

The film's targets multiply - workers' rights, racism, feminism - and for 1953 this is pretty amazing.

Unpacks the man's story with a dramatic flair that might be mistaken for Zoolanderiffic, if it weren't so aptly accessible.

An idiosyncratic romance, and a far lighter movie than is usual from Cassavetes. Detailing the problems that background and character bring to a relationship, he creates a captivatingly witty and sympathetic picture of a pair of misfits deciding to make a go of it together despite numerous incompatibilities and adversities.

It’s a movie that loves boldly “important” ’70s-style dust jackets, loves its own lecturing voice (courtesy of neurotic narrator Eric Bogosian) and somehow makes that mélange strangely appealing.

Notre-Dame on Fire is really good at conveying an iconic building’s place in a nation’s soul, and the grief that its potential loss can provoke. Most of its symbolism is well-earned and resonant.

Artfully lit and soundtracked by chirruping bugs and buzzing bees, the experience is so soothing that it’s easy to be caught out when the world’s distressing realities elbow in. But it speaks volumes for the power of its woozy spell that it’s so tough to see it broken.

Michael Jackson was obviously shooting for the moon right before his death, as you can tell from these stunning bits of concert spectacle.

Thank You for Your Service is as necessary as top-flight journalism.

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

A title like that needs balls of brass to back it up. Luckily, this fiery college comedy from feature-debuting writer-director Justin Simien, loosely inspired by a series of scandalous black-face parties at all-white fraternities, is full of punchy intelligence and barely concealed anger.

Sorrentino explores these heavyweight themes with his usual wit and high style – as well as a standout soundtrack of haunting classic cues and Eurodance bangers. Surreal, comedic touches also prick the pomposity of La Grazia’s cloistered world.