I'll readily admit that I left The Brutalist less exhilarated than bemused. Yet this flawed work of near-greatness absolutely deserves an audience, and more than a few awards.

A largely pro forma musical bio-pic on the British pop sensation Robbie Williams, Better Man is only director Michael Gracey's second non-documentary feature, the first being 2017's word-of-mouth hit The Greatest Showman. And about 40 minutes into his new film, you're finally treated to evidence of what a powerfully great showman Gracey can be.

If Mufasa: The Lion King is a marginal improvement on its very bad 2019 predecessor – director Jon Favreau's deeply unnecessary, frequently shot-for-shot remake that substituted photorealism for traditional animation – it's only because, unlike last time, we don't enter the film knowing precisely what we're gonna get. Except, of course, we do.

Not that the material demanded or invited it, but I think I now know why Ralph Fiennes was never seen out of his clerical robe in Conclave. Because if we ever saw him shirtless, or even got a gander at his bare arms, that entire papal drama would've collapsed through one simple question: “How did a cloistered, late-middle-aged cardinal get so freakin' jacked?!”