Time passes slowly and remorselessly in The Irishman. Though its much remarked de-ageing technology lets us glimpse Frank Sheeran (Robert De Niro) executing German POWs aged 24, none of the gangsters here ever seem young. Everyone is heavy with experience, bloated with spilt blood.

While recent motor racing movies have been built around superstar names like Ayrton Senna and James Hunt, the protagonists of Le Mans ’66 (shown at London Film Festival) will be barely recognisable to a wider audience. They are Carroll Shelby, the former American racing driver turned car designer, and Ken Miles, a British driver transplanted to American sports car racing.

Will Smith’s giant hand looms out of the screen towards you, gripping his gun’s trigger with weird realism.

A new film by Chris Morris ought to be an event. The agent provocateur of Brass Eye infamy has tended to rustle feathers and spark debate whatever he does. His last film, Four Lions, dared to find comedy in Islamic terrorism in 2010, when so many wounds were still so fresh. 

Marriage Story, shown at the London Film Festival, feels like an instant classic, that intimate, tangible, resonant kind of classic that touches a chord with almost anyone. It’s not just a film about a divorce, but that added nightmare of a divorce with kids involved, and the yet more despairing experience of separating when there is still love. And it’s heart-breaking.

Sienna Miller’s career has been short on leading roles, though she excelled in the TV drama The Girl and has notched up some memorable supporting roles. However, if there’s any justice, her commanding and deeply-felt performance in American Woman should move her career up a gear.

There used to be this myth that we knew nothing about the concentration camps until the victors opened their gates in 1945, and that the survivors were then nursed back to health.

A labour of love for its co-writer, producer and star Joel Edgerton, The King (showing at London Film Festival) is derived from Shakespeare’s Henry IV and Henry V plays, but isn’t slavishly bound to them.

Dolly Wells’ directorial debut employs her best friend Emily Mortimer as reclusive writer Julia Price, having paired up previously in a TV satire of their professionally uneven relationship, Doll and Em.