“Essentially an unbranded perfume advert, The Tourist leaves several beautiful, vapid Hollywood icons drifting a parched desert of marbled buildings and mild xenophobia.”

“No Time To Die has managed to achieve what the nation's politicians cannot, and present a version of Britain with something for everyone. In a roundabout way, we have Ian Fleming’s raging misogyny to thank for 007’s adaptability- his capacity to transform, or to be transformed, into the comforting, invincible hero that his audience craves.”

“The first outing for Ben Stiller's neurotic security guard was something of a rarity in its time: a big-budget concoction that delivered surprisingly enriching and uncynical fare for young audiences.”

“Pablo Larraín's fairytale approach allows him to treat his subject with the perfect degree of storybook nastiness, successfully steering the film between simpering tribute and tasteless hit-piece.”

“The bickering, plotting, and attempted murder in which the characters engage are staples of the rom-com canon, from Shakespeare to Cary Grant. But like the best works of its genre, beneath the pulpy, vapid titillation afforded by a focus on the timeless lust for sex and money, Intolerable Cruelty has a bite to it.”

“Chalamet is perfect for this parable, because to some extent he’s playing himself. Alongside the familiar ‘space fascist, ‘space peasant’, and ‘space emperor’ archetypes, T-Chala puts the ‘space softboi’ in the pantheon of sci-fi archetypes.”

“The rich, detailed array of characters in Jerry Maguire really serves to highlight one thing, or rather one person. As the opening sequence neatly demonstrates, the utter insignificance of one man in the vast, unknowable world translates into his total significance in his own head.”

“With its simple plot and ‘normal’ characters, the film is driven by its use of negative space and psychological threats, most obviously in the unrelenting, invisible, unknowable entity. The fear of the unknown, and more importantly the question of whether the threat is real at all, is driven home by plot elements which should be mundane rather than supernatural: the central element of sex, the Detroit setting, anachronistic household items.”