Time Out

Unfortunately, that rich stew is here somehow rendered thin and flavourless.

The fact that Peter is living in a different emotional multiverse from MJ is the movie’s strongest idea and frankly, more should have been made of it. Zendaya is fabulous, an energy force in her scenes with Holland, and Batalon is a blast as the ex-bestie who channels his Spider-Man obsession into an app that tracks his sightings. The trio’s scenes together are a delight. If only there were more of them.

10 Days in China is not made specifically for Wham! fans, although the gig footage showcases the band at their exuberant ‘Careless Whisper’ and ‘Freedom’-era peak. Where it really sings is in revealing the unexpected legacy of this legendary tour.

In standard 70mm, the voyage is breathtaking; in IMAX, you’re tasting the salt water. Even among all the truck flips, atomic explosions and rotating corridors of his back catalogue, this film is the apogee of Nolan’s ‘do it in camera’ ethos, and the sense that this was a shoot with no comfort zone pervades every frame.

It’s not a happy watch, but Life Support is an urgent and essential piece of reportage.

After a couple of hours of pummelling and dour sadism, you’ll be pining for the days of Bruce Campbell throwing himself around with a chainsaw.

Even by the deadening standards of The Lion King and Mufasa, this animation-to-live action transplant has all the freshness of a washed-up marlin.

The ending goes a bit Monsters vs Aliens, delivering a generic payoff to all the Criterion Collection lunacy that came before. But for the most part, it’s pure giddy fun – and it may even spark a Letterboxd boom among the under-10s.

My Father’s Island isn’t quite the triumph it could have been, yet it’s by no means a failure.

An obvious point of reference is Lynne Ramsay’s We Need to Talk About Kevin – and Lionel Shriver’s source novel – which charted the slow descent into despair for the parents of a troubled child. Blue Heron is a gentler, kinder film, introspectively exploring the nature of memory and the idea that trauma twists and manipulates it like heat warping a strip of celluloid.