Jane Crowther

Cleaving closely to the source material, del Toro wants to explore the trauma that makes us, mankind's capacity for cruelty, the death we bring on ourselves through war, and the catharsis of forgiveness – all notions that make Frankenstein relevant in current world politics and social media savagery.

Pedro Almodóvar fans may be wrongfooted by the writer/director’s first full-length English-language feature, an atypically austere entry in his canon that’s nevertheless as vivid and haunting as much of his other work.

Filmmaker Azazel Jacobs follows up the highly mannered (and highly strung) French Exit (2020) with a slow-burn study of sibling rivalry, parental mortality and the ties that bind.

Entwining Irish folklore, dead-parent issues, eco-anxiety, and reality-show commentary, The Watched is an acceptable mid-tier horror. It'll be far more interesting to see what Shyamalan does next.

Frankly, if you’re buying a ticket purely for the behemoth battles then you’ll get your money’s worth: take your pick from a trippy rumpus that defies gravity, a Copacabana beach-off, some Planet of the Apes-esque monkey business, and a literal dust-up at the Egyptian pyramids.

DuVernay captures the universal experience of loss: the regrets, the suffocating sorrow.

Fizzy, funny, heightened – Hit Man is a damn good time at the movies that will leave you buzzing.

This ultimately feels like a story that didn’t need remaking, with performances that would have tickled in a one-night view on Broadway. It’s Friedkin’s swan song, yes, but is it representative of his output? Probably not.

Meddle with sobriety and project it on a nightclub wall and maybe it works. As a film, not so much.

It suffers an abrupt ending and, compared to the creativity displayed in Coppola’s other biopic, Marie Antoinette, is a more muted affair.