James Mottram

Whilst sometimes hampered by its loose plotting, and uneven supporting performances, the characters largely feel real and lived-in. Offering a world where people read Byron, brood on their feelings and hang out in the cooler corners of Warsaw (which Ohs makes look very stylish, by the way), it’s an intriguing and very honest look at 21st Century relations.

This old-fashioned tale may not appeal to kids today. But it’s hard to be down on a film that gets up in the air and back down to land inside an hour, entertaining its audience with wit and whimsy.

Mashing together a heartfelt New York musical with an LGBTQ+ love story, Sachs cradles his cast warmly throughout, crafting a film that feels like a real throwback to his 1996 debut The Delta, in its honesty and integrity of characters on the margins. For sure, it represents the most provocative work of Malek’s career.

Some will love it, especially if you enjoy wallowing in genre mash-ups, sci-fi horror and Japanese fetishism. Many will hate it.

Sadly, Tom Clancy’s Jack Ryan: Ghost War – what a mouthful of a title that is – emerges as a bland action vehicle shorn of wit or vitality.

While the film arguably lacks the rage-fuelled intensity of Joker, this is still a brooding tale that works hard to reinvent the comic book movie.

For the most part returning director Simon McQuoid does little to turn this into anything but a serviceable follow-up to a film that feels outdated and outdone by much better recent video game adaptations.

It’s a thoroughly enjoyable reunion – like being reacquainted with old friends.

Assayas and his team have created an indelible portrait of contemporary Russia, “a prison the size of a country” as it's called, one that perhaps only an outsider could ever get away with.

Adapted by director François Ozon, the script makes subtle adjustments to Camus's work without ever demystifying its more enigmatic elements.