Stephen Whitty

As much a biopic of the show as of its stars, Being The Ricardos has a few good performances, and a cleverly structured (if factually challenged) script. But star Nicole Kidman’s performance is shaky, and Sorkin relies too heavily on an overbearing score to deliver the emotions.

With standout performances by stars Denzel Washington and Frances McDormand, expert imagery and striking production design, Joel Coen’s The Tragedy of Macbeth is hardly a tale told by an idiot. But it could actually use a little more sound and fury – and a better idea of what it’s supposed to be signifying.

A warm gathering of Scandinavian artists, with Sweden’s Skarsgård and Norway’s Hovig both excelling under Norwegian director Maria Sødahl’s attentive care.

Rather than including people with their politics, the filmmakers depend on flashy sleight-of-hand, distracting us with a deceptive narrative trick that isn’t nearly as fresh as they think.

As a brief, brightly-coloured, virtual babysitter – lasting just long enough to keep the children diverted while you check in and out of that last Zoom meeting, and get dinner on the table – it dutifully fulfills its obligations. But anyone looking for much beyond that in this tale of a flying squirrel – well, they’d have to be nuts.

Even for a film about time loops, everything feels overly familiar. (Note to filmmakers: Simply referencing the film you’re stealing from doesn’t excuse the theft). And unlike Mark and Margaret’s do-over day, in the end the whole thing slips by without leaving any impression at all.

Despite the constant effort and genuine warmth of star Melissa McCarthy, the film’s stitched-together stories come apart early on.

Evan Morgan’s sometimes weird, sometimes whimsical thriller delivers a grown-up blend of film-noir tropes and deadpan humor, for a comedy-drama which starts off lighthearted and then deftly darkens.

Spun mostly of sugar and air, this film is a lightweight, but mostly sweet, treat – and a lovely reminder of when pictures could just be low-key amusements, and the pandemic hadn’t yet turned cities into ghost towns.

In a way, the film is its own genre – the found-footage documentary. There are no interviews with other people, no self-described experts. Just Hoon, who – adding to the film’s melancholy sense of waste – comes across as an unspoiled, charismatic and mostly amiable young man.