What sprouts from the astonishing opening scene is a wonderful tragicomedy with just the right amount of balance and unpredictability.

I’m a cat. I’m a sea turtle. I’m the sky. I’m a confused film critic. I’m Josephine Decker, experimental director with my fifth feature. I’m also the extremely impressive Helena Howard in my breakthrough role. 

Without a real plot, Portman is rudderless, and goes way overboard, playing off all the superstar clichés and endlessly, greedily gobbling up the screen. 

There’s a touch of Terry Gilliam playfulness to this odd duality between fantasy and reality.

Following on from It Follows, this is a disappointment. But forgetting what came before, it’s a good film, a fun film. Nothing more.

A weak Farhadi film is still strides ahead of many directors best work.

An unsettling meditation on the problematic nature of war

From the get-go everything about this film feels creepy.

There’s a lot to enjoy.

A fun film with a fine supporting cast

Sometimes, fact is often more bewildering and more fascinating than fiction. And so it goes with Three Identical Strangers, the brilliant new documentary from Tim Wardle.

There is a wonderful wistful feeling to the quiet, slow but steady pace of the film.

Blindspotting uses a unique white/black bromance and sparky dialogue to weigh in on the issues of gun control and police brutality.

An insightful documentation of a demographic we may know next to nothing about.

It’s a bit of a mongrel this one. A coming-of-age drama with first kisses and first loves. A supernatural tale tinkering around with little bits and pieces of Guillermo del Toro’s treasure trove.

Grim, maybe. Satisfying, maybe. Polarising? Without doubt.

Haifaa al-Mansour’s resolutely doom-laden slab of 19th Century romanticism.

L’enfant terrible François Ozon is back with an erotic psychosexual thriller, the genre of which more or less all but died out once we entered the 21st century.