The offstage elements may slightly underwhelm, but Luhrmann’s kaleidoscopic exploration of Elvis’ Vegas residency is one of the most thrilling musical experiences you can have at a cinema.
It’s no Scream. Or, indeed, The Babadook. But Kevin Williamson’s meta-slasher has solid emotional underpinning and a handful of ace scenes. And Sidney-f*cking-Prescott.
A clever, funny, suspenseful, interestingly cynical science-fiction horror movie with a great collection of monsters — courtesy of make-up geniuses Dave and Lou Elsey — and a cast whose enthusiasm is, appropriately, infectious.
This starts strong but doesn’t always have the room to explore all the ideas it crams in, even with a lengthy running time. Still, Rockwell’s man-on-a-mission is a delight.
A beautifully hand-crafted love letter to childhood, self-discovery, and the life-changing power of really good chocolate, Little Amélie is 78 minutes of pure animated joy that welcomes one and all.
With images of violence brushing against understated strength — amid a search for love, safety and self-actualisation — this is an astonishing cinematic experience that lures the past into the present.
Though not one for subtlety, Bronstein’s pressure-cooking, panic-mongering sophomore feature is perversely enjoyable — as long as you can take the stress.
There’s a pleasure to seeing such a starry cast in a slick cinematic thriller. But beyond that, Crime 101 offers little to remember after the closing credits.