Gurinder Chadha's follow-up to the Delhi-set Viceroy's House brings us a little closer to home - Luton, in fact - with this moving real-life tale of a British Asian teen in 1987 who pursues his dreams with a shot in the arm from the music of Bruce Springsteen.
"It's true that real animals don't appear happy, angry, sad or fearful the same way in which humans do. Their eyes don't dart from side to side, and they certainly don't smile or laugh. So why build a dramatic, $260m movie around them?"
Cumulatively, it's a masterclass in film form and philosophy: students hoping to understand Varda's theory of cinecriture, or cine-writing, could do worse than to begin here.
The film comes alive when it delicately suggests the poignancy of an life where happiness is derived from the approval of children, who are loving but inherently impulsive.
A young boy finds his mundane life transformed by music, in the process transforming himself, but fills the void left by his absence of love with drugs, sex, and bad decisions. It's a standard rock movie setup.
Kayla's struggling. She's a quiet eighth-grader on the edge of fifteen with few friends IRL and even fewer online, where she uploads YouTube entries which go mostly unviewed. She's about to leave middle school under a cloud of ignominy, having been voted 'most quiet' by her peers.
A recent, presumably sincere, tweet from a concerned film fan negatively compared the directorial debut of Brie Larson, Unicorn Store, to the first film directed by Superbad and Wolf of Wall Street actor Jonah Hill.
The first film from Marvel Studios to focus on a female hero, and one of very few at all in recent memory? The latest high-profile target of 'fan' opprobrium, ostensibly because of opinions held by one of the actors involved? The sixth biggest opening weekend in history? In 2019, there's plenty to untangle about a new superhero film before you even take your seat, and Captain Marvel is the most talked-about in a long time.