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It is a film that is sustained by the irresistible, irrepressible duo at its heart, and by the appeal of seeing the typical stoner bro movie repurposed for the female perspective.

Lines around victimhood are rarely clean. Here they're jagged and brittle, fearsome and fearful.

Clark steers his course carefully both as a writer and as an actor.

Epic, sprawling and inspirational.

Henry Selick directs with clever staging and infinite patience. The musical numbers are catchy, boisterous and hugely entertaining.

There’s not a great deal here that we haven’t seen before, but it’s well delivered.

The writing burns the skin off language.

Like last year's Baby Done and 2019's Saint Frances this is a thoroughly modern consideration of impending motherhood that doesn't shy away from subjects like casual sex and allows the mother not to be consumed by sudden maternal instinct.

For all that there's some gold within it the real treasure is in playfulness.

In Assayas's smashingly sad comedy of manners, shoes drop left and right.

A balanced portrait of three people at a difficult juncture in their lives.

Notre Musique is one of Godard’s most responsible, articulate and accessible works.

There is something quite profound here about learning to achieve what you can in the moment and for making peace with a situation you are unable to change.

No Time To Die might not save cinemas, but it will keep Bond going.

It’s almost a shame they’ve bothered with the subtitles at all, as much of the comedy speaks for itself, which makes the subtitles feel rather “pushed” to lewd extremes in a bid to extract further laughs in places.

A well-shot and occasionally sweaty run around the same old block.

If this sounds grim, it is, but it keeps the audience engaged thanks to a beautifully judged script and a keen sense of the absurd.

The five scriptwriters working on this can't think of anything funnier than an exploding bog and an errant vibrator.

If you're a fan of B-movies - of nudity, gore, monsters, car chases, kung fu action and ultra-low-budget fun - then Not Quite Hollywood is a treat you can't afford to miss.

It's a bit of a duff note.

A romantic comedy that cuts up cliches and scatters them across the mid West.

It's a film that goes out of its way to provoke and disappoint, but to those who get its jokes and can cope with the rest, it's a delight.

Obra is as layered as the past it seeks to uncover.

Director Joe Johnston and scriptwriter Lewis Colick have taken no liberties with the text and yet considerably weakened it.

There are a lot of bad films out there, but Octopus 2 has to be one of the laziest.

Unpicking a woolen jumper has more intrinsic merit.

There is potential in the scenario and a game cast, but Farr's film is hobbled by some clunky execution and tonal uncertainty.

Wambaugh seeks after truth and in so doing deflates the dramatic impact, as real life does not employ an editor to slice facts into exciting shapes.

A stunning feature début for Marcus Rutherford.

As is almost always the case with this sort of casting, the essential 'truth' of these non-professionals is visible beneath the constructed story.

Though it's a difficult line to draw it never felt twee, just winsome, mostly wholesome.

More a portrait of a friendship than of Omar and Cedric as creative artists.

There are no weak links in the performances here, but Ben-Adir is the standout, communicating most in the moments when he doesn't say a word.

Maybe its Disney/Pixar have set such a high bar for themselves, but the latest outing, despite all its fairy tale creatures, lacks some of the studio's usual magic.

What could have been preachy is fascinating.

On the whole, it's episodic and uneven although both men have serious acting chops and there's a studied bleakness to the mood, as though the grey weather has seeped into its soul.

Daniele Thompson has enticed delightful performances from a diverse cast.

The less you see, the more you believe. Chilean born writer/director Alejandro Amenabar, who is still in his twenties, knows this.

A real slam dunk.

Whilst [the] direction is effective and the acting is good all round, the script falls short of the mark.

It...contains one of the most ruthless break-ups in recent cinematic history.

Watching the two young men, you may well find your sympathies shifting – and you may wonder which of them, if either, is actually en route to becoming a killer.

When it comes to action, the film doesn't disappoint, and the final scenes of men running around in mud are up there with the best.

A jarringly odd mix of dull and disturbing that comes with its own quasi-religious frisson for a jaded age.

With Petterson’s novel heavily focused on Trond’s inner life, it’s no easy task to bring it to the screen.

Ricci captures the ruthless spirit of a selfish one-tracker with unapologetic enthusiasm.

It disappoints on two fronts. The directors, Bobby and Peter Farrelly, love vulgar so much they can't be anything else and the complexity of the human body is too wondrous for a bunch of animators to figure out.

What might once have been seen as a dark and mysteriously chilling tale of rural horror feels ridden with cliches.

Morel struggles to bring shallow and uneven characters to life in what is ultimately an awkward and outlandishly graphic drama.