Nigel M Smith

It’s run-of-the-mill, and crassly manipulative.

Like its distraught protagonist, Amber Tamblyn’s Paint It Black is unforgiving, flawed and ferocious.

Cranston acts the hell out of the role, like he’s performing Macbeth in a room. Unfortunately his commitment isn’t enough to sell Wakefield as anything more than a hollow character study, with an unappealing tool at its core.

Admirably cynical until it loses its way in the final stretch, The Ticket nevertheless maintains a provocative allure, bolstered by a fiercely committed performance from Dan Stevens.

For all his faults as a narrative film-maker, Herzog can at least be counted on to keep his non-documentary excursions unpredictable.

Gage’s remarkably intimate portrait of female youth on the verge leaves you with a largely hopeful feeling that this particular group of women will make good on that advice.

The Transfiguration is a character study first and foremost, spending all of its time with Milo. Problem is, he’s so opaque that as a protagonist, he’s completely impenetrable.

Keough and Malone convey a palpable sense of yearning for one another during these sequences, but Kim and Bradley Rust Gray’s barebones script doesn’t match their efforts.

As well as its plot being eerily similar to that of Demolition, it’s just as misguided.

It’s Holmes brazen performance that remains the chief drawing point in seeking out All We Had. She burrows deep under the skin of Rita, a woman firmly aware of her many flaws and tragically unable to address them.