Plenty on offer this weekend, including Jordan Peele's sublime new horror Us and Ralph Fiennes' accomplished biopic The White Crow.

Us ****

If there was worry that Jordan Peele would buckle under the pressure with his follow-up to Get Out, well, he didn't get that memo. 

It's two from two for the comedy-star-turned-horror-maestro. And how.

As twisted a thrill ride as you may get in 2019, Us is made to be seen in a jam-packed cinema where there's screaming room only. There'll be plenty of that.

This story of a family coming face-to-face with their worst nightmares is a popcorn-spiller from the very first scene and rarely pauses for breath as the ills of this world play out in a holiday home and its environs. Read our full review here.

The White Crow ****1/2

As the gold rush to make more and more biopics about legends from the worlds of arts and entertainment continues, Ralph Fiennes has found one of the richest seams of all.

For his third film as actor-director - following on from his contemporary take on Shakespeare's Coriolanus and playing Charles Dickens in love and work drama The Invisible Woman - Fiennes has chosen to focus on Russian ballet superstar Rudolf Nureyev.

In Ukrainian dancer Oleg Ivenko he has found the perfect leading man. Read our full review here.

The Dirt *

Motley Crue are one of rock's most notorious bands and while The Dirt doesn't hold back from dipping into the waters of their depravity, it spends more time painting them as heroes deserving of worship than showing any of the real depth or grit in their journey; it's the definition of a vanity project.

The film is based on a book written by Motley Crue members Nikki Sixx (Douglas Booth), Tommy Lee (Colson Baker aka Machine Gun Kelly), Vince Neil (Daniel Webber) and Mick Mars (Iwan Rheon), and author Neil Strauss, but it becomes a much more sanitised version of events for the screen.

It's being sold as a no-holds-barred look at the band's sex and substance-fuelled career and yes, there are scenes and montages dedicated to those pursuits, but it feels like the film has only been produced to allow the band members to pat themselves on the back for being such full-time legends back in their heyday. Read our full review here.

Minding the Gap *****

Winner of the Special Jury Prize for Documentary at the Sundance Film Festival, Minding the Gap begins as though it were about to be some blissful film about skateboarding, but it cuts to a darker chase.

Opening proceedings with a brilliant skateboarding sequence, director Bing Liu - who is, or at least was a skateboarder himself - introduces us to his friends  in the small city of Rockfield, in the Illinois Rust Belt.

You can sense the invitation of those empty ramps that lead from one floor to the other in the multi-tiered car park. You can see how a young fellow might want to race up and down the graduated slope for hours, spending time with your mates on a summer's day. Read our full review here.

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What Men Want ***

What Men Want is predictable and uneven, but the genuinely big laughs – of which there are quite a few – keep it flowing.

Remember 2000's Mel Gibson-led What Women Want? As the title suggests, it is a gender reversal of that premise, and while the laughs here are bigger, it doesn't break any new ground.

The moments of real cringe are balanced out by genuinely big laughs; the film doesn't take itself too seriously, and neither should you. It's cheesy, it's obvious exactly where the story is going to – really, you can call it to a tee – but it's mindlessly enjoyable. Read our full review here.

Ben Is Back ***1/2

Director Peter Hedges' latest outing is a well-meaning portrait of America's opioid crisis, but the uneven script has more lows than highs.

Oscar nominee Lucas Hedges (Manchester by the Sea) continues to add to his impressive CV as the leading character, a recovering addict who makes the penitent decision to check out of rehab to visit his family on Christmas Eve.

Over the course of 24 hours, the drama-turned-melodrama brings viewers on a trip that showcases the impact of addiction on families. Read our full review here.

Triple Frontier ***1/2 - Out now on Netflix

The curious case of JC Chandor - the director who made three excellent films in Margin Call, All Is Lost and A Most Violent Year and deserved a bigger audience for all of them. 

He'll definitely get more bums on seats going down the Netflix route with Triple Frontier, a decent modern western with a great cast. If you're looking for one of those straight-to-video highs you remember from back in the day stake your couch space claim.

Owing much in dynamics to The Treasure of the Sierra Madre and 'one last job' genre, Triple Frontier sees a group of former Special Forces comrades hatch a plan to fleece a South American drug lord of his fortune. Civilian life hasn't been kind to four of them - played by Ben Affleck, Garrett Hedlund, Charlie Hunnam and - Pedro Pascal - while Oscar Isaac's heist mastermind has stayed in the game as a private contractor but is now desperate for a way out. With an almighty pay-off. Read our full review here.

Captain Marvel ***1/2

Eleven years and 21 movies later, we finally have our first female-led Marvel film.

Thankfully, Captain Marvel doesn't buckle under the considerable weight of expectations that come with being such an important milestone in the Marvel Cinematic Universe.

Brie Larson steps into Carol Danvers/Captain Marvel's boots for the first time and it's a blast to see the Room Oscar-winner transform into a superhero in this solidly entertaining, if regrettably conventional, origins story. Read our full review here.

Everybody Knows ***1/2

Everybody Knows is a superbly acted, twisted tale of deception, loyalty and the ties that bind, but a bloated run-time detracts from the drama.

Penelope Cruz plays Laura, a woman living in Buenos Aires, Argentina who travels to her hometown in Spain with her two children ahead of her sister's wedding. The celebrations and family reunions are brought crashing down when Laura's free-spirited daughter Irene is kidnapped.

As everyone bands together to try to figure out why Irene was abducted, who could be behind it, and how to get her back, old grudges, old flames and old arguments are unearthed. Trust is called into question, as are Laura's nearest and dearest's loyalties and motives. Read our full review here.

The Kindergarten Teacher ***1/2

The Kindergarten Teacher tends towards the earnest and well-meaning before unleashing the plain, old-fashioned indie-creepy movie that it is at heart.

Maggie Gyllenhaal plays Lisa Spinelli, the overly-committed kindergarten teacher who seems mildly discontented from the beginning of this quirky, engaging film. It's there in the way she communicates at home, how she interacts with her nice, compliant husband Grant (Michael Chernus). It's there when she faces down her rebellious adolescent kids.

Gyllenhaal plays the uptight and gently imploding teacher brilliantly. We sense a crisis about to unfold; there is emptiness in her life. The real drama starts the day she hears five-year-old Jimmy (Parker Sevak) reciting a short poem, which, it transpires, is his own verse... Read our full review here.

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