Adrian Horton

Reminders of Him does, in fact, remind of that earlier time, when It Ends With Us over-delivered on sweeping sentimentality, a brief glow before everything curdled. We cannot go back there, but I’ve heard far less pleasurable echoes.

Written by Colby Day, In the Blink of an Eye attempts no less than the sweep of life from big bang to unknown verdant planets, with the emotional depth of a tide pool and the complexity of a cave painting.

This is, against great odds and surely some western expectations, a beguiling hangout film – an invitation to the dinner party, a fascinating window into a group of underground artists who carry on despite the risks, a representation of creativity under surveillance. A snapshot of everyday resistance, the fight for a freedom from the bottom up. And most effectively, a moving portrait of one nutritive, symbiotic friendship in transition.

It’s both a sublime hang-out of a film and a celebration of individual achievements, a fascinating map of a long-ago scene and a referendum on legacy.

For a film so sincerely intent on bringing us into the process of sibling grief, I still left a stranger.

Chasing Summer at least outruns the charge of being boring, though at what cost.

The road through year 10 may be rocky, but Manners is a confident guide – her film-making is splashy and stylish throughout, shrewdly conveying just how much one can learn, and break, in a year.

Tatum manages to ground the viewer in his abject bewilderment and pain. It’s a instantly memorable performance in a haunting movie, one that I have carried with me in the hours since I’ve seen it. Perhaps that is the best thing I can say about this remarkable feature – for its viewers, as it is for its meticulously rendered subject, the disquiet lingers.

As a standalone film, The History of Concrete is consistently laugh-out-loud funny, compelling and surprising, if 20 minutes too long. And, of course, about much more than just concrete.

In other words, smart concepts, talented people, solid blueprint. But there is too little risk – in the defanged satire, in the muddled thematic sprawl, even in a late-stage satirical swing that, for this fan, jumped the shark – to rise above its sharp-eyed construction.