The film has a huge amount of heart from the two leading actresses

Jack Greeney overviews the free foreign film bi-weekly event in Manchester’s Confucius Institute

Twenty years onward, Hideo Nakada’s iconic existential video horror remains just as powerful, substantive and terrifying as ever

Catrin Stewart looks at the privilege associated with comfort eating and how the consumption of food is fundamentally about more.

Cold Pursuit is a revenge thriller that proves nothing more than a particularly dull entry in a string of bad genre flicks

Alita: Battle Angel could have been vastly entertaining, but somehow manages to fall short at every hurdle

It’s overly complicated at times

Matthew Ross’ Siberia is like watching his niche but ultimately pubescent fantasy of seducing an eastern European woman in a Siberian café

Countless films involve women receiving a make-over in order to be deemed attractive, but does this effect women’s self-consiousness?

Manchester’s Northern Quarter became the set for Morbius, a new Marvel blockbuster

Alex Holmes tells the incredible story of Tracey Edwards and the first all women crew compete in the Whitbread round the world honestly and creatively, writes Alex Walker

Nadine Labako has delivered an Oscar nominated gem of a film which holds all power to account with a deeply emotional story, writes Carl Fitzgerald

Stephen Merchant’s dramedy about a Norwich born WWE superstar succeeds through its wholesome heart and a fantastic lead performance from Florence Pugh

A February dumping ground horror sequel that seems to meander in uniqueness only to lose its way and not really know what to do next

Colman may have transformed from sit-com staple to genuine big screen royalty with The Favourite

The variation in a collection of short films is enticing to watch and the stories shared are valuable, as celebrated at the Kino Film Festival

Issy Rayner looks at the latest Harry Potter entry, The Crimes of Grindelwald, and its problem of being crushed under its own weight.

Georgia Church questions the award-winning film’s claim to supporting the feminism movement in the face of its starkly flawed characterisations