Kate Lloyd

It’s not a perfect movie. Sometimes it moves very slowly. Other times the acting is so big it becomes pantomime. But what Piper is incredible at (in both this and I Hate Suzie) is taking the raw, intense, angry energy, that builds when you’re forced to spend too much of your life tackling the toxicity of masculinity around you, and pouring it out like a long line of acid shots for viewers to chug.

Social media has never been so scary.

It’s badly paced, has too many plotlines crammed in and gives Joan’s character one-liners that come off as mean rather than Alexis-sassy.

Whether Rossi knows it or not, this is one of the most compelling discussions of appropriation and the ignorance of the fashion world in ages.

The documentary twists and turns like a guy getting his armpits tickled, but its driving force is Farrier’s personal determination to reveal the manipulation of the athletes involved. It’s unexpected and brilliant.

It’s the directorial debut of novelist Helen Walsh and details as small as the actresses’ eyebrows reveal huge amounts about their characters. It’s also cleverly shot.

This Danish crime thriller is so dark and stormy it will leave you dazed as the credits roll.

The movie manages to shift sensitively from laugh-out-loud moments to tear-jerking scenes, discussing euthanasia on the way. It’s not perfect, but the novel’s five million readers have nothing to worry about: it’s totally loyal to the book (unsurprisingly since Moyes wrote the script).

It might have made a good episode of ‘Entourage’, but as a full-length feature it misses the mark.

It’s all so overly macho that it plays like a camp pleasure-cruise.