Anna Smith

Much like its hero, Late Fame drifts towards a conclusion rather than following a clear sense of purpose, but it does so with grace. Like the poetry, it’s sure to find an appreciative audience.

It’s a striking debut from writer-director Maria Martinez Bayona with a fearless performance from Hall, as Claire rebels against convention and reflects on her life.

There is something watchable about this melodrama in which shocking events force others into being, and in which Huppert is delightfully rude to everyone in a clever way as this literary fraud plays out.

Eerie yet entertaining, it’s Jenkin’s most accessible film so far, while remaining anchored to his core Cornish principles.

There’s a lot going on here: you never quite know what Maggie Gyllenhaal is going to throw into the pot next, but it’s always visually exciting and often funny.

This family endeavour is an acting masterclass, and we should be grateful that it’s lured Daniel Day-Lewis back into acting after eight years in the metaphorical woods.

The Roses gets off to an enjoyable start, but like the marriage at its centre, the novelty wears off.

While billed as a psychological horror, it may be best approached as a dark drama or thriller, rather than a fully terrifying experience. But if you invest in its characters, it offers a thought-provoking insight into the depths of the human mind when faced with the laws of survival. It’s grim, but good.

As each character veers between confidence and awkwardness, it feels credible but doesn’t dig terribly deep.

With enjoyable characters and smart dialogue, French-Canadian director Monia Chokri makes her dilemma a very entertaining ride.