Fairyland review: A fond, wise chronicle of parenthood through turbulent decades

The emotional force of Andrew Durham’s film is found in the two-step between parent and child as the sweep of LGBTQ+ history catches up

Nightbitch: Amy Adams gives it her all, but the close of the film feels like a malign deception

Conventional drama drops in on book’s key premise when bored by its own lacklustre comedy

Amy Adams: ‘There is so much women normalise in relation to pain and sacrifice’

In Nightbitch, Marielle Heller’s new film, the star plays a woman crushed by childrearing. It’s not the only pressure women are under, she says

The Comey Rule review: You actually begin to root for Trump

It is impossible for Brendan Gleeson to give a serious performance as Donald Trump

Sleepless review: It’ll keep you awake but don’t expect depth

Baran bo Odar’s empty entertainment is an attractive, unpretentious catastrophe

Black Sea review: Jude Law under pressure

Man on board and overboard in a cracking submarine thriller that’s the best boy’s adventure Alastair Maclean never wrote

The Rover review: Maximum madness in the Aussie outback

Godzilla director Gareth Edwards likes his creature comforts

Fanboys everywhere rejoiced when Gareth Edwards, director of the indie hit Monsters, was named as the man to reboot Godzilla. His mum, however, was a little less excited . . .

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Film review: Frank

Lenny Abrahamson’s superby eccentric movie about a group of supremely eccentric musicians reveals some powerful truths about art and the disordered mind

How Kevin Macdonald found his fallout girl in Saoirse Ronan

At first, Oscar-winner Kevin Macdonald had doubts about casting Saoirse Ronan in the nuclear romance How I Live Now, but he quickly revised his opinion – “She’s the finest actor I have ever worked with”