Simran Hans

Tension is frequently punctured by clunky dialogue.

Poehler, herself a gifted comedian, doesn’t include her own voice in the film, though we still get a sense of her feminist perspective.

Letts gives thoughtful context to the way he was able to straddle the racially delineated worlds of dub reggae and punk rock, drawing parallels between the merging of subcultures in 1970s London, and the intersection of hip-hop and rock’n’roll in 1980s New York.

There is about as much jeopardy as you’d expect from an action thriller about an obscure land dispute; a tense encounter with an angry polar bear and a phantom hot air balloon are highlights during the endless plodding across the frozen wilderness.

Basholli understands that healing is possible, even if closure isn’t.

Despite the inherent silliness, the actors play it straight. There’s an earnestness to Rylance’s performance, which encourages us to find inspiration in the underdog.

The latest film from horror director Ti West (The House of the Devil), about a porn movie shoot gone wrong, is ripe with playful winks and nudges.

Diallo utilises the visual language of horror – red lighting, empty shower stalls, a gnarled hand that emerges from under the bed – to express the terror of racism and the rot of its legacy.

Zoë Kravitz is a highlight as cocktail waitress turned cat burglar Selina Kyle.

Ostrochovský’s camera emphasises the constricting architecture of both church and state, with its black and white morality and a claustrophobic central courtyard, frequently portrayed via stiff, judgmental God’s-eye shots.