Caryn James

It is wildly entertaining.

It looks sumptuous and proceeds at an absorbing slow-burn pace as it reveals itself to be about doppelgangers and identity, the line between fiction and reality, and whether deep down we all have the capacity for murder.

As a message, Prima Facie is still a howl of rage and a plea for change. But as a film it is a near-total muddle, from the clunky recurring voiceover to the cringey, obvious visuals and a preachy ending, with only some stunning supporting performances and a brief, powerful middle section to redeem it.

Sometimes eloquent and often rocky, Magic Hour is good enough to make you wish it was much less predictable.

Through it all, Bailey’s star power shines. She holds the camera’s attention, pops off the screen and gives Anna an innocent energy that makes her ruses seem mischievous and harmless.

Despite all the insider’s access, though, in the end the behind-the-scenes episodes offer the illusion of intimacy, rather than anything really illuminating.

At times it's as if the film itself was stitched together from the parts of other movies, but collecting all those bits and pieces is a sign of Gyllenhaal's huge scope and ambition.

Although Manville and Hinds are always worth watching, it’s obviously a problem when the actors and the scenery so thoroughly overshadow a film’s story.

Starring Margot Robbie and Jacob Elordi, Emerald Fennell's new take on the classic romance is far from faithful to the original book – but it is "utterly absorbing" in its own right.

The film’s first-person approach and dynamic visual style make it more engaging and livelier than you might expect such a well-researched documentary about this serious subject to be.