Katie Parker

Anya Taylor-Joy is the crown jewel in this study of addiction, loneliness and connection.

Zoë Kravitz is a delight – an equally witty, more chill foil to Fleabag.

Untethered from norms like “decency”, “taste” and “good script writing”.

Still, it’s a fun ride.

The film contains something many action films sorely lack: fun.

“Easily the best thing about Someone Great is its cast.”

A Hollywood re-make seems like a rather less likely prospect.

You won’t find anything tricksy, stylised or gritty going on here.

The film itself, however, is a bit of a disappointment.

Gut-wrenchingly familiar and relatable to anyone who has ever been sad or awkward or a teenager.

A rare period drama that goes beyond merely re-hashing a sensationalised past.

“Whether you were wanting her or not, Lisbeth Salander is back.”

It’s a shame it couldn’t have been half an hour shorter.

Weirdly paced, sloppily edited and numbingly undynamic.

Rough Night and I Feel Pretty this is not.

Anon’s vision of a world without anonymity is strikingly banal.

Jackie van Beek and Madeleine Sami never let things go stale, praises Katie Parker.

Wonder Woman tore up the rulebook – or at least Hollywood’s collective “wisdom.”

Following a family of four as they attempt to live without making a sound, it’s a subtle, simple story that wisely allows the concept to do most of the talking.

The Jennifer Lawrence espionage thriller is a stylish – if insubstantial – psychological drama, writes Katie Parker.