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Florence Foster Jenkins, a sweet­na­tured New York so­cialite who died to­ward the end of the sec­ond World War, is of­ten cel­e­brated (if that is the word) as the worst opera singer ever. The script to Frears’s biopic is un­re­mark­able, but Streep is hi­lar­i­ous and touch­ing as Mrs Jenkins, while Grants charms as her com­pli­ant hus­band. The singing is ma­jes­tic. Any­one can miss notes, but it takes a great ac­tor to man­gle the in­to­na­tion so ef­fec­tively. PG cert, gen re­lease, 110 min GOLDEN YEARS

“They may take our pen­sions but they can never take 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 GREEN ROOM

If you imag­ined that “Bey­oncé’s Lemon­ade has just dropped” or “Ra­dio­head have a new al­bum out on May 8th” rep­re­sented the most ex­cit­ing cul­tural an­nounce­ments of the year, then hold on your var­i­ous hats, be­cause Saulnier’s film has Nazis ver­sus Punks. It turns out to be hugely tense, well­struc­tured thrill ride. Ste­wart is qui­etly ter­ri­fy­ing. The John Car­pen­ter lifts are all jus­ti­fied. Saulnier de­liv­ers on the prom­ise of Blue Ruin. And then some. 16 cert, lim re­lease, 95 min NEW RE­LEASE HEART OF A DOG See re­view, page 9 NEW RE­LEASE A HOLO­GRAM FOR A KING See re­view, page 11 I SAW THE LIGHT

If they were to give out awards for the most by-thenum­bers re­lease of the year, then this study of Hank Wil­liams would take some beat­ing. The film would ac­tu­ally be more en­ter­tain­ing if Hid­dle­ston were a lit­tle less ef­fec­tive in the lead role. The teeth aren’t nearly ir­reg­u­lar enough but, oth­er­wise, the English­man does a very ser­vice­able im­pres­sion of coun­try’s holy rebel. If he were ter­ri­ble we might, at least, have some­thing to laugh at. Rou­tine. Drab. Lethar­gic. 15A cert, gen re­lease, 123 min NEW RE­LEASE JOUR­NEY TO THE SHORE See re­view, page 10

Don­ald Clarke

Who voiced Shere Khan in the re­cent an­i­mated Jun­gle Book? What sport plays a part in Annie Hall, School for Scoundrels and Strangers on a Train? What links Ru­dolph Valentino, Franz Liszt, Gus­tav Mahler and Py­otr Tchaikovsky? Who has not been mar­ried to Mia Far­row: Frank Si­na­tra, An­dre Previn, Woody Allen? For which film did Humphrey Bog­art win THE JUN­GLE BOOK Un­ex­pect­edly de­light­ful pseudo-live-ac­tion restag­ing of Dis­ney’s 1967 an­i­mated hit (with some fresh bor­row­ings from Ki­pling’s source ma­te­rial). This is a gor­geous, sweep­ing en­ter­tain­ment that com­bines the epic – a rain-whipped as­cent through muddy hills is par­tic­u­larly awein­spir­ing – with the in­ti­mate and off­beat. Mur­ray voices a dis­grace­ful Baloo; Jo­hans­son slinks as Kaa. In­deed, the film is so en­joy­able that it seems mean to point out that the end­ing is a dis­grace­ful cheat. PG cert, gen re­lease, 105 min KNIGHT OF CUPS his only Os­car? Iden­tify the blood­drenched ac­tor above. Songs by Pet Shop Boys, Led Zep­pelin and Van Halen have shared ti­tles begged the ques­tion: just how many more shots of women twirling on coast­lines am I go­ing to have to watch? Knight of Cups sounds like the an­swer: too damned many. Bale stars as Rick, an ill-de­fined Hol­ly­wood player with a com­pul­sion to watch var­i­ous girl­friends spin at the sea­side. The mess of track­ing shots of deserts, roads and ro­tat­ing love in­ter­ests stub­bornly re­fuses to co­a­lesce into any­thing re­sem­bling a nar­ra­tive. But nei­ther is it avant-garde enough to func­tion as ex­per­i­men­ta­tion. Club, Triskel, Cork, 118 min KUNG FU PANDA 3 Po (Black) is strug­gling with his new teach­ing du­ties in the wake of 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

He­len Mir­ren in Eye in the Sky, out now on gen­eral re­lease

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 NEW RE­LEASE MIR­ROR See re­view, page 11 MUS­TANG De­light­ful Os­car-nom­i­nated Turk­ish drama fol­low­ing five sis­ters who, af­ter a mi­nor trans­gres­sion, are placed un­der vir­tual house ar­rest by their guardians. Ergüven does find in­di­vid­ual voices for each char­ac­ter, but the last­ing im­pres­sion is of an in­ven­tive hive mind work­ing upon a flock of ever-scur­ry­ing bod­ies. The con­clu­sion is a lit­tle im­plau­si­ble, but one still leaves the film ex­hil­a­rated. 15A, lim re­lease, 97 min OUR KIND OF TRAITOR

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 post­war 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 X-MEN: APOCA­LYPSE See re­view, pages 10-11 ZOOTROPO­LIS

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