Tim Grierson

With Toy Story 5, Pixar reaffirms what has always made this franchise so beloved, resulting in another delightful adventure that mines fresh emotional terrain while producing plenty of hearty laughs.

Despite the character’s rocky path to sexual awakening, Herzi navigates toward a hopeful conclusion that doesn’t peddle phony uplift.

Pushing too hard to give The Death Of Robin Hood a sense of gravitas, Sarnoski suffocates his story rather than letting its palpable agony envelop the viewer. This Robin Hood subverts our expectations, but he never gets to breathe.

Renoir may be a delicate wisp of a film, but it’s flecked with thoughtful questioning about whether childhood’s sorrows leave permanent scars on us as adults.

At nearly two-and-a-half hours, the film ultimately succumbs to blockbuster conventionality and the stifling demands of brand management. But like the timid Adam transforming into the swaggering He-Man, occasionally the picture transcends those confining strictures to become something a little more confident and carefree.

A compassionate, clear-eyed study of a young woman searching for a place to call home, Ashes is driven by Anna Diaz’s evocative performance which expresses a world of discontent through the simplest of glances.

Exhibiting an emotional restraint sometimes missing from his previous films Girl (2018) and Close (2022), Dhont’s latest proves to be an affecting, familiar drama.

The Diary Of A Chambermaid’s outward prettiness merely emphasises the melancholy and quiet anger at its core, as Jude reveals his disdain for how rich families (and countries) treat poor immigrant labour. Marguerite and Pierre are never outwardly cruel, but their repeated microaggressions are a comparable torture.

Without getting too sappy or strident, Jim Queen explores how sexual fluidity can open up exciting possibilities but also break people’s hearts. In the case of this cheeky picture, it can be pretty funny, too.

To be sure, there are moments when one can be amused by the shameless showiness of Refn’s pretentious design. But like that mist enveloping the city, Her Private Hell’s charms dissipate fairly quickly.