Jessie Buckley - above - owns cinema screens this week.
Wild Rose *****
It's rare a movie as singularly uplifting as Wild Rose comes along.
This familiar tale of self-discovery and dream-chasing is given a fresh breath of life, and takes some unexpected twists and turns, as it follows the unconventional heroine at the centre, Rose-Lynn, a wannabe country singer from Glasgow.
Played with joyful abandon by Kerry actress Jessie Buckley, Rose-Lynn is, in Buckley’s own words, "the kind of girl you want to go for a drink with" but "don't want to get in a fight with". Read our full review here.
Out of Innocence **1/2
Out of Innocence is based on the Kerry Babies case of 1984, and makes sure to say at the opening that it is not a documentary, but the film does serve to unpack that tragic story and show audiences the injustice, the harmful way people were treated and the prejudice at play.
In the film, we meet Sarah Flynn (Fionnuala Flaherty), a young single mother who is secretly pregnant with her second child. On one harrowing night, Sarah goes into labour on her family farm and loses her baby.
Meanwhile, miles away, the body of another baby is discovered on a beach. Read our full review here.
The best to be hoped for from Little is that a new generation sets the time machine controls for 1988 and watches Big - the film that inspired this body-swap comedy.
Here, Girls Trip star Regina Hall becomes the latest big screen boss-from-hell to think that her employees are chew toys. The most gnarled among them is her personal assistant - Insecure favourite Issa Rae playing a character whose patience is matched only by her determination to hide her light under a bushel.
After a bust-up with a child magician, the boss wakes up and realises she's now in the body of her 13-year-old self. Enter Marsai Martin (Blackish), who turns in the kind of performance that suggests she's going to be a mainstay in movies for years to come. Read our full review here.
Don't Go **
Don't Go grafts the Hollywood mystery thriller onto an Irish landscape in which Stephen Dorff (Blade, Public Enemies, True Detective) plays the American writer Ben Slater.
Angsty and edgy, Ben is married to the more composed Hazel, played by the Golden Globe-nominated Australian actress Melissa George (In Treatment, Grey's Anatomy, 30 Days of Night).
Following the loss of their daughter Molly after a fall at their Dublin home, the bereaved couple move to a disused hotel in the West of Ireland where Hazel sets about an expensive refurbishment. Read our full review here.
Wonder Park **
Wonder Park is visually vibrant and engaging, but the lack of tact and subtlety in dealing with the big issues is a major downfall.
The film centres on June and her mother playing and creating an imaginary park run by her cuddly toys, where their creativity is boundless and the fun never ends, until bed time anyway. But unbeknownst to them, the park is a real thing and everything they whisper into the ear of her toy monkey is heard by his real life counterpart who then puts their ideas into action.
June is a free-spirited kid whose imagination has been nurtured and her parents have provided her with a home full of love, encouragement and fun, but when her mother becomes ill and needs to go away for treatment, everything in her world comes crashing down. Read our full review here.
What with Batman turning 80 and the equally aged Superman looking increasingly hokey, it's high time we had a new kid on the superhero block.
Thing is, DC superhero Shazam is just as old as those two crime-fighting duffers and, in fact, made his comic book debut as the first superhero to bear the Captain Marvel name as far back as 1939. Since then copyright actions from Marvel et al and a name change have rather left him on the fringes of mainstream comic book culture.
Bravo so for DC Comics and director David F Sandberg - who's usually found churning out pulpy horror movies like Annabelle: Creation - for dusting down Shazam's uber cheesy outfit and, indeed, attitude for this coming-of-age (quite literally) superhero flick with a big heart and lots of comedy chops. Read our full review here.
The Keeper ****
This is the amazing true story of Bert Trautmann - a German prisoner of War during WWII who became a post-war hero as a goalkeeper at Manchester City.
German actor David Kross - who you might remember from The Reader - plays Trautmann in this engaging biopic, which also delves into Trautmann's private life, and the effect the horrors of war had on him.
If you're not a football fan you shouldn't disregard The Keeper. This isn't a sport film as such - it's the compelling story of a truly remarkable man. Read our full review here.
Last Breath ****
Last Breath is a dramatic, sometimes moving film which tracks the lives of deep sea divers working on the seabed in the North Sea while in the throes of a challenging occurrence involving one of their team.
Real footage, filmed by the divers' helmet cameras lends palpable drama to this remarkable documentary. The film also knits in additional reconstructed scenes featuring the self-same individuals who were confronted with challenges they had never before experienced. A fearfully disorienting sequence of events was set in train some '12 hours steam' from Aberdeen that fateful September night in 2012.
The Topaz, the ship which carried the divers, was 100 metres in length and 20 metres in width and had been locked into position in the North Sea, to allow maintenance work to be done on the seabed. This was the vessel from which the men would dive, having ensconced themselves in the diving bell. Read our full review here.
Pet Sematary ****
We've said it before and we'll probably say it again but if you're making a horror movie, you can't go far wrong with a demonic cat named after Winston Churchill and a changeling waif.
They both take centre stage in this unnervingly effective and moving new adaptation of Stephen King's (possibly) scariest novel. It's not short on scares and a pervading sense of dread, but this story of a happy young family brought low by evil outside forces and their own demons is built on solid performances and very human emotions.
When Dr Louis Creed (Jason Clarke) and his family move to rural Maine to escape the Boston rat race, it seems they've arrived in a country idyll. Their house backs onto 50 acres of forest and countryside, but there among the dreaming oaks and verdant pastures is a pet cemetery where local kids bury their dead animals. Beyond that again, is swamp land which was once a Native American burial ground, a strange gateway between life and death in the misty, petrified forest. Read our full review here.
The Sisters Brothers ****
Let's all try really hard to forget that Holmes & Watson ever happened at Christmas, because John C Reilly has truly paid his double act dues for 2019. First came the misty-eyed magic of Stan and Ollie in January (what do you mean you didn't go twice?), and now we have The Sisters Brothers, a Western where Reilly gets the perfect partner in crime, Joaquin Phoenix.
Guns-for-hire Eli and Charlie Sisters are almost out of ammo. The sensitive Eli (Reilly) is tired of the killing, the clientele and the after-hours antics of oafish younger brother Charlie (Phoenix). He tells him: "We've had a good long run, we're still alive, we've a bit of our youth left - this is a chance to get out." But, of course, there's one last job. It involves gold - and you know how that usually turns out...
If you were asked what would be the unlikeliest film that Rust and Bone and A Prophet director Jacques Audiard could make, chances are a Western would be neck and neck with a musical. And yet here he is, saddling up for his English-language debut with Spain standing in for California in 1851. And how. Read our full review here.
Missing Link ***1/2
The charming, earnest and dizzyingly ambitious stop-motion animation Missing Link is a beautifully captured tale of friendship, identity and empathy.
In Victorian London, intrepid explorer Sir Lionel Frost (Hugh Jackman) wishes to earn himself a place in a highly exclusive institution, headed by the pompous Lord Piggot-Dunceb (Stephen Fry).
In order to prove himself to be one of the foremost investigators of myths and monsters, Lionel travels to America's Pacific Northwest to discover one of the world's most legendary creatures - Bigfoot. Read our full review here.
The Limit Of ***1/2
Alan Mulligan's noirish slow-creeper is based on a solid premise involving an exploitative bank and the subversive, vengeful act that aims to rock the financial institution to its foundations.
Dublin, Ireland, soulless, sterile office blocks and we are at the tail-end of the most recent recession where James Allen (Laurence O'Fuarain) works for a bank, which according to a TV news report, has a reputation for "aggressive selling and a willingness to foreclose on families suffering mortgage arrears".
Moody and troubled though he appears to be, James is valued as a keen seller of financial products. His colleague Alison (Sarah Carroll) is also a model employee yet fails to get the promotion she hoped for. Read our full review here.
Happy as Lazzaro **1/2
In Happy as Lazzaro - whose original Italian title is Lazzaro Felice - director Alice Rohrwacher has aimed to make a meaningful but surreal parable for our times, rather than an attractive period piece, which is what it is for the first half.
The film begins with real promise but fizzles in its second act into a foggy portentousness.
However, newcomer Adriano Tardiolo is never less than mesmerising as the mercurial Lazzaro. Read our full review here.
Five Feet Apart **
Actor Justin Baldoni's (Jane the Virgin) directorial debut takes a nauseatingly shallow look at a life-shortening genetic disorder and never rises above being a banal teen drama.
Adapted from Rachael Lippincott's bestselling YA novel about two love-struck teens with Cystic Fibrosis (CF), the story revolves around photogenic leads - Haley Lu Richardson and Riverdale's Cole Sprouse - who run the risk of cross-infection if they come closer than six feet apart. The title refers to the foot the pair 'take back' as their romance blossoms.
It's jaw-droppingly mawkish when it should be heartfelt, offensively trivial when it should be poignant, and draining when it should be inspiring. Read our full review here.