Adam Lowes

Lucy feels like the work of a filmmaker who has recovered his mojo.

What we are ultimately left with is a well-made, consummately-performed drama – Laura Linney shines in a small role as John’s equally exasperated younger sister – which unfortunately falls a little short of the intended emotional catharsis Mortensen is reaching for.

Diana Kennedy: Nothing Fancy is an affectionate and reverential look at a remarkable figure and a testament to her achievements within the Mexican culinary landscape.

Mystify: Michael Hutchence is an impeccably assembled, comprehensive tribute to a rock legend and is entirely worthy of being mentioned in the same breath as the aforementioned Winehouse doc.

The Man Who Killed Hitler and Then the Bigfoot is a thoroughly enjoyable and sneakily touching oddity which is entirely worthy of a big screen outing.

Chronicling the lives of himself and two friends from teenage years to young adulthood, director Bing Liu has crafted a rich coming-of-age odyssey which is, in turn, illuminating, sobering and ultimately uplifting.

Ultimately, Anna and the Apocalypse ends up lacking the requisite bite to really make it fly as that quirky leftfield offering it so badly wants to be.

Even if it does occasionally threaten to outstay its welcome with a 111-minute running time, the deeply engaging performances and that freeing and uninhibited Spanish flavour which Marques-Marcet brings to his English-language debut, means it’s the kind of world you really don’t mind lingering in.

While it’s obvious that fans of Lavelle and his many creative ventures will get the most out of The Man From Mo’Wax, this remains a fascinating insight into both the hubris and vulnerability of the music industry, which never shies away from casting it’s subject matter in a sometimes unfavourable light.

At times the whole film threatens to turn into a visual stream of consciousness exercise which is a real shame, as Greenfield’s aims are entirely admirable and with merit.