The sight of Liam Neeson eating Pop-Tarts under a bridge seems like a particularly 2021 mood.

Once again, Nate Parker approaches the harrowing past and present of America’s racial injustice solely through the prism of his own ego and self-promotion.

A patronizing, integrally false depiction of life with autism, guided by pseudoscience and dressed up in unearned uplift. Arthouse ableism that makes the viewer less informed than they were going in.

What begins as surprisingly thoughtful quickly becomes almost completely thoughtless.

This isn’t a movie; it’s a bad joke.

A knotty, uneasy exploration of grief so raw even its own filmmakers can’t work out what to do with it, this is nevertheless an extremely moving and highly impressive feat of directing and acting.

Completely uncompromising in its core objectives, though misjudged in a few key areas, this is a brilliantly provocative directorial debut for Emerald Fennell and another magnificent showcase for Carey Mulligan.

Though we may have become desensitized to Pixar’s greatness, Soul is an instant masterpiece, and a loving, kind, and profound work of humanity.

A reliance on decades-old film tropes runs like a vein through WW84, although it can be challenging to determine whether it amounts to homage, irony or just lazy storytelling.

Exhausted by the carnage and strife of his previous work and wanting to make something to promote healing, we can be pretty sure Paul Greengrass never set out to make something as boring as News of the World.