Cath Clarke

.imgHideOnJavaScriptDisabled_el3djyu6o { display: none !important; }

Toni Morrison’s remarkable life gets the film tribute it so richly deserves

.imgHideOnJavaScriptDisabled_el3djyu6p { display: none !important; }

Greed shows a darker side to the lifestyles of the rich and famous

.imgHideOnJavaScriptDisabled_el3djyu6q { display: none !important; }

Parasite is industrial-strength social satire

.imgHideOnJavaScriptDisabled_el3djyu6r { display: none !important; }

Armando Iannucci’s David Copperfield adaption is brilliantly inclusive

.imgHideOnJavaScriptDisabled_el3djyu6s { display: none !important; }

1917 review: it’s a terrifically good beat-the-clock nailbiter

.imgHideOnJavaScriptDisabled_el3djyu6t { display: none !important; }

There’s little magic in The Amazing Johnathan Documentary

.imgHideOnJavaScriptDisabled_el3djyu6u { display: none !important; }

Ken Loach’s Sorry We Missed You shows reality of austerity Britain

.imgHideOnJavaScriptDisabled_el3djyu6v { display: none !important; }

REVIEW: Chris Morris is back with scabrous comedy The Day Shall Come

.imgHideOnJavaScriptDisabled_el3djyu6w { display: none !important; }

The sky’s the limit for Brad Pitt in Ad Astra

.imgHideOnJavaScriptDisabled_el3djyu6x { display: none !important; }

Blinded by the Light review: feelgood memoir hit by current reality

.imgHideOnJavaScriptDisabled_el3djyu6y { display: none !important; }

The Lion King review: I Can’t Believe It’s Not Attenborough

.imgHideOnJavaScriptDisabled_el3djyu6z { display: none !important; }

‘Yesterday’ – fab four stars for Beatles jukebox movie

.imgHideOnJavaScriptDisabled_el3djyu70 { display: none !important; }

‘Gloria Bell’ review – An authentic remake of the Chilean classic

.imgHideOnJavaScriptDisabled_el3djyu71 { display: none !important; }

Beats review: Pills, thrills and belly laughs with a shot of nostalgia

.imgHideOnJavaScriptDisabled_el3djyu72 { display: none !important; }

‘Eighth Grade’ – Bo Burnham’s tale of teenage clicks gets the thumbs-up emoji

.imgHideOnJavaScriptDisabled_el3djyu73 { display: none !important; }

‘The Sisters Brothers’ review – strong, silent gunslingers need not apply

.imgHideOnJavaScriptDisabled_el3djyu74 { display: none !important; }

‘Ben is Back’ review – opioid addiction turned into suspenseful thriller

.imgHideOnJavaScriptDisabled_el3djyu75 { display: none !important; }

‘On the Basis of Sex’: Ginsburg’s superhero origin tale lacks a little spirit

.imgHideOnJavaScriptDisabled_el3djyu76 { display: none !important; }

‘Can You Ever Forgive Me?’ review – toxic twins well worth their Oscar nods

.imgHideOnJavaScriptDisabled_el3djyu77 { display: none !important; }

‘Mary Queen of Scots’ – brilliantly cast but poorly executed period drama

.imgHideOnJavaScriptDisabled_el3djyu78 { display: none !important; }

‘Three Identical Strangers’ – is the future already written in our genes?

.imgHideOnJavaScriptDisabled_el3djyu79 { display: none !important; }

Steve McQueen’s ‘Widows’ is a lesson in how to portray badass women in film

.imgHideOnJavaScriptDisabled_el3djyu7a { display: none !important; }

‘Fahrenheit 11/9’ sees Michael Moore turn up the heat on Trump’s America

.css-l0mio9{display:none;visibility:hidden;}