Robbie Collin

While Toy Story 5 may fall short of essential, in an age in which children’s entertainment routinely panders to its audience, there is something quietly radical about a film that is willing to worry for them.

With its ruminations on everything from responsible government to humanity’s innate religious drive, Disclosure Day is unquestionably a big swing. But with Spielberg, big swings should be a given, and this one only glancingly connects.

This reboot of the 1980s fantasy cartoon keeps telling us how absolutely right we are to not be enjoying it. Who am I to argue?

It is normal to be bored by dreadful films, or even annoyed by them. But I don’t believe I have ever felt as sorry for one as I do John Travolta’s directorial debut, the viewing of which is like watching a toddler walk into a lamp post.

As always in Nemes’s films, the period detail is so enveloping it feels utterly natural. But his great gift as a director is his facility for portraying 20th-century European history as a great grinding machine, into the blood-stained cogs of which anyone might have found themselves dragged.

If you wanted to be mean about Pedro Almodóvar’s new film, you could call it complacent. On the other hand, if you wanted to be generous, you could call it a spry deconstruction of artistic complacency. In reality, it’s both.

It’s all fun in the heat of the moment – or more often the chill of it – and the physically constructed city itself is a wonder. But we already know that Refn can do this stuff in his sleep. As the credits roll, you may be left wondering: what else?

Everything Disney needed to revive the franchise after its seven-year absence from cinemas is in here. The problem is there is only around 20 minutes of it, and much of the rest is hopeless.

Writer-director Cristian Mungiu has made a slow-burn provocation that knows exactly which buttons it is pressing – yet which also grapples with the thorny issues it raises, from the limits and contradictions of multiculturalism to public sector careerism, with an unflinching moral seriousness.

Watching that brilliance in action remains a thrill: you can see the angles and vectors align in his mind’s eye before every kick. Tryhorn and Nicholas have pulled off something similar here. Having got every calculation just right, their film soars.