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our lives” is the bat­tle cry that un­der­scores this gen­tle com­edy. They didn’t mean for things to turn out this way, but when re­spectable mid­dle-class re­tirees Arthur and Martha ( Hill and McKenna) dis­cover that their pen­sion has evap­o­rated, they stum­ble into a life of crime. Is it pos­si­ble to re­sist that cast? Just about. Golden Years is harm­less but de­press­ingly ram­shackle. 12A cert, lim re­lease, 96 min NEW RE­LEASE GREEN ROOM See re­view, page 11 THE HUNTS­MAN: WIN­TER’S WAR

Don­ald Clarke

What will be awarded at the Palais des Fes­ti­vals et des Con­grès on Sun­day week? Which Cannes ju­ror played Marie An­toinette, Mary Joe Wat­son and Mar­ion Davis? Which di­rec­tor has just bro­ken the record for open­ing the Cannes Film Fes­ti­val most of­ten? Who links the be­gin­ning of Trainspot­ting, A 1975 film by Michelangelo An­to­nioni, Kirk Dou­glas as Van Gough and Jim Jar­musch’s up­com­ing Gimme Dan­ger? Who was made “per­sona non grata” at the Cannes Film Fes­ti­val in 2011? Mas­ter Shifu’s (Hoff­man) re­tire­ment. He re­treats home to his adop­tive fa­ther’s noo­dle shop, only to hap­pen upon Li Shan (Cranston), Po’s long-lost bi­o­log­i­cal fa­ther. The lovely emo­tional ping-pong be­tween Black, Cranston and James Hong is only matched by the lovely an­i­ma­tion. The Kung Fu Panda fran­chise has al­ways been a hand­some beast, but here the ren­der­ing puts even Pixar in the shade. And the script an im­prove­ment on the sec­ond episode. PG cert, gen re­lease, 95 min MID­NIGHT SPE­CIAL

Ni­chols, di­rec­tor of Take Shel­ter and Mud, goes full scif-fi with this Spiel­ber­gian drama con­cern­ing a gifted child flee­ing a de­ranged re­li­gious sect. Mid­night Spe­cial is at its weak­est when en­gag­ing di­rectly with the fan­tas­tic. The ul­ti­mate “so­lu­tion” to the boy’s mys­tery is per­func­tory in its de­tails and un­der­whelm­ing in its com­put­er­gen­er­ated ex­e­cu­tion. But, when still open to enigma, the pic­ture buzzes with a gothic dis­or­der that is very much the di­rec­tor’s own.

Dar­ling diva: Meryl Streep and Hugh Grant in Florence Foster Jenk­ins, out now on gen­eral re­lease

12A cert, gen re­lease, 111 min MILES AHEAD

“If you’re go­ing to tell a story, then come at it with some at­ti­tude. Don’t be coy with that shit.” So says Miles Davis (Chea­dle) to a slip­pery jour­nal­ist (McGre­gor) in this pe­cu­liar bi­o­graph­i­cal sketch. Chea­dle doesn’t wholly take the ad­vice on board. His cen­tral per­for­mance is first class – all breathy men­ace – but the tacked-on plot con­cern­ing a missing recordig is of no in­ter­est. En­thu­si­asts will still want to get on board. 15A cert, gen re­lease, 100 min NEW RE­LEASE MUS­TANG See re­view, page 11 MY NAME IS EMILY

A young woman (Lynch) and her pal (Web­ster) drive across coun­try in search of her dis­turbed fa­ther. This is the crowd-funded fea­ture that Fitz­mau­rice di­rected while en­dur­ing the un­for­giv­ing symp­toms of mo­tor neu­rone disease. A teen road-movie flavoured with self-help philoso­phies, My Name Is Emily does not ad­dress his con­di­tion ex­plic­itly, but any­one fa­mil­iar with Si­mon’s story will de­tect psy­cho­log­i­cal au­to­bi­og­ra­phy. The film is very much about seiz­ing the day. Pe­cu­liar, but ac­ces­si­ble. 12A cert, lim re­lease, 94 min NEW RE­LEASE OUR KIND OF TRAITOR See re­view, page 11 ROBIN­SON CRUSOE

Mid­dle-class Cosmo (Walsh-Peelo) is sent to the rowdy Synge Street CBS when his be­liev­ably louche pro­fes­sional dad (Gillen in hooded-eyed mode) finds clients slip­ping away. He finds es­cape through mu­sic. Con­clud­ing what feels, af­ter Car­ney’s Once and Be­gin Again, like a mu­si­cal tril­ogy, Sing Street trades in a sim­i­lar sort of height­ened re­al­ity to that which en­er­gised Stan­ley Do­nen’s post-war mu­si­cals. Walsh-Peelo is great. The mu­sic soars. A delight. 12A cert, gen re­lease, 105 min SON OF SAUL/SAUL FIA

Saul, a Son­derkom­mando in Auschwitz, is bat­tered back to re­al­ity when he comes across the body of his son in the gas cham­ber. Un­like Schindler’s List or The Pi­anist, Son of Saul of­fers its vic­tim noth­ing so un­likely as life, but, if Saul can ar­range things, the boy might get a de­cent Jewish burial. Win­ner of an Os­car, a run­ner-up at Cannes, Nemes’s fiercely dy­namic de­but is a mas­ter­piece of ten­sion and de­spair. The mo­men­tum is chill­ingly un­stop­pable.15A cert, lim re­lease, 107 min NEW RE­LEASE TROU­BLE­MAK­ERS: THE STORY OF LAND ART See re­view, page 11 NEW RE­LEASE WHISKEY TANGO FOX­TROT See re­view, irish­ ZOOTROPO­LIS When a plucky rab­bit named Judy Hopps (Good­win) se­cures a job with the po­lice depart­ment, she runs up against ill feel­ing from the larger an­i­mals. The cen­tral metaphor in Dis­ney’s lat­est an­i­ma­tion is a bit shaky – can the “preda­tors” re­ally stand in for op­pressed mi­nori­ties?. But the art work is so cute and the jokes so tight that this cen­tral in­se­cu­rity is eas­ily over­looked. More im­pres­sive still, Zootropo­lis has a plot you can re­ally, ahem, sink your teeth into. PG cert, gen re­lease, 108 min

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