Films Out Now: USA

Littermates is a film full of kindness, blending real sweetness with the unutterably bleak, equally at ease with the comic and the tragic.

Malkovich and Rockwell are magnetic.

You’re unlikely to see anything quite like it any time soon.

The first Japanese production to be shot specifically for IMAX, there's plenty big on that big big screen.

Lulu Wilson’s impatient energy and Wexler’s panache are perfectly matched.

Characters who belong to a fairy tale or folkloric world struggle to contain themselves in flesh, edged out by the existence of mere mortals who, despite their vulnerability, forever push them to the edges of the narrative.

Seydoux takes us into the maelstrom with Lucy, determined and doubtful, angry and grief-stricken, fearful and belligerent all at the same time.

Handsomely framed and possessed of a strong sense of style, Mash Ville is superficially beguiling.

An in-depth portrait of the production, a rare opportunity to see how a film on that scale is put together.

Rarely does a character jump off the screen in the way Klara does. Ortega is luminous in the role.

The way Zischler and Hüller play their relationship is so wonderfully real and subtle and appropriately opaque for all us non-Mann family members, that it at times brought tears to my eyes.

Concerned with exploring what ordinary people might do in extremis, Terrestrial is one of those films that turns on a single line.

With its genuine Versailles locations and sumptuous costuming, Marie Antoinette is a feast for the eyes.

Nothing quite works.

In endeavouring to provide real insights about the man, Gibney has to dig through a weight of illusion and affectation

The lads’ delight at their early success is engaging, and both stars acquit themselves well.

The characters are larger than life, each with a distinctive look, to make it easier to keep track. The effect is rather like being at a drunken fancy dress party.

Abraham and Szor’s approach is systematic and sobering.

The original film was derided by critics for being crude, exploitative and immature. Fans will be pleased to know that this one delivers more of the same.

Worse than incomplete, Haigh's film lacks a fully developed soul. This is in spite of striking aesthetic moments and sharply written scenes complemented by strong performances from the cast.

Imagine all the Terrible/Awesome Clichés That Could Happen In The American Wilderness and construct a mental bingo card to tick them off. Spoiler warning: There's a good chance you're going to get a full house.

Wigon’s film is arch as a proscenium from the start

Like all the best supernatural tales, it keeps the rules simple but still manages to wrongfoot viewers.

Grounded in whimsy and wonder but willing to embrace a dark edge

Kowalski's story of black magic and isolation takes command of its audience through a ghastly soundscape.

The age rating with its warnings of gore and language doesn't quite cover the extent to which filth and fury are scattered.

It’s edge of your seat stuff. It’s also unabashedly exploitation cinema.

Burning is not just a film about getting to the truth – it’s a film about the construction of truth.

It's a delight, one that earns its place in a cultural canon.

Throughout, Yeon’s directorial skill and Byun Bong-sun’s stylish cinematography grip viewers’ attention.

Boorman has an extraordinary openness about him which would make him a compelling subject even if he’d never made a film in his life.

Miller is impressive in letting viewers see and understand what she’s going through despite her character’s attempts to keep everything on an even keel.

There is visceral violence in Bennett and Brooks’ film, an explicit study of some of the dynamics of self harm, at times eroticised, and a lot of blood. Still, it is essentially a character-driven piece.

As befits a film set on a rapid commuter train, the pace rarely lets up.

Anderson and Einbinder are a terrific pairing.

I had to step aside to try to enjoy it as a thing itself and I'm not convinced I succeeded.

Suffers from an underdeveloped subplot and over-indulged length.

This retelling is the one you seek.

The film’s strength lies in its quieter observations of change.

Supergirl, here at least, isn't a double identity. It's maybe not even one.

Jenkin’s style, impressionistic when it comes to places, is particular in regard to objects, the real anchors of our lives.

Perhaps it is gauche to call a director approaching 80 naïve, but that is the sentiment that lingers as Disclosure Day itself unfolds.

A satisfying eco-horror with much more monster action than most.

Universal ideas interlock with this personal and resonant story.

Choijoovanchig strikes a fine balance, using drone shots to illustrate the bigger picture while retaining the intimacy of the cab and home environment.

Director Siobhan McCarthy is adept at using the long-established visual language of the high school movie both to entertain and to show us the world from a perspective that’s relatively new to cinema.

Like many a familiar rail service, it suffers from delays and nothing quite works as it should – but hey, it’ll still get you from A to B.

Its images are often chilling. Its spaces have a genuine charge. But the plot often feels less like cinema than like a sequence of cutscenes from a video game with the gameplay removed.

This has the feel of a serial condensed to a feature.

Deon is a treat in her first major role.