The Telegraph

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.

Sweary, a bit lairy, occasionally teary, this isn’t the romcom of anyone’s dreams. But for a fun and frivolous evening on the sofa, Office Romance’s charms are undeniable.

There are duels à la Thackeray. There are classical snippets borrowed from sundry Kubrick soundtracks for added pomp. But, unfortunately, there’s never a real reason to stay this grim film’s course.

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?

The film lays out all these facts quite vividly, but the insights it’s peddling into art and beauty never get below the surface. It’s a deeper dimension – truth – that eludes it.

Other Carney films have been funnier or sweeter; but this has a seen-it-all take on the music biz that’s refreshingly acerbic. It knows how fame and fairness are practically banned from sharing a bed.

As bizarre as it is terrifying, Backrooms may not be a revolution in horror, but it’s a beyond-freaky remapping of the genre.

Rarer still is comedy direction so inspired from someone making their feature debut. Alicia MacDonald is the real deal. There are dozens of characters here all nailing laughs by being 100 per cent themselves: that takes not only inspired casting and acting, but a person in charge who knows how to wring the juice out of every syllable.

It’s an achingly elegant piece of work which I’m already looking forward to revisiting.