She can do anything. That’s what choreographers say about Tiler Peck, the peppy New York City Ballet principal who has launched a stream of projects above and beyond the day job. You want speed? Wham, you get it. You want complexity? She can learn a tricky phrase in seconds then reverse it and riff on it. You want nerve, verve, musicality? Those choreographers are right, this dynamo has it all.

In the sports comedy Champions Marcus and Marokovich (Woody Harrelson) is a basketball coach in the lowly G League. He has ambitions to coach in the major leagues, but a sight of his highly flammable temper is normally enough to conclude that such dreams are likely to remain unfulfilled.

Junior (Alec Baldwin) peers through his airplane window at fluffy clouds with childish wonder, then a wolfish grin of opportunity. He turns to practising the signature from his latest mark’s stolen wallet, with Miami below for the taking.

John Hughes’ most beloved cult film feels like contraband now, a bracingly harsh bulletin from Eighties teen life, full of barbed, uncensored talk between its five school detention misfits – the titular “breakfast club”.

Based on the bestselling novel by Taylor Jenkins Reid, Daisy Jones & The Six is the rags-to-riches-to-wreckage story of the titular Seventies rock band, supposedly somewhat based on Fleetwood Mac. Their journey from their fashion-defying hometown of Pittsburgh to Los Angeles and thence the world follows a well-worn trail carved by countless aspiring rockers, and doesn’t do it quite interestingly enough to justify its 10-episode length.

I’m Fine (Thanks for Asking) is an object lesson in how it was possible to make a feature on a tiny budget despite the restrictions of the pandemic lockdown. The film-makers stuck to the classical unities (time, place, action), cast themselves and members of the crew, called in favours from performer friends, and shot the movie over 10 days, mainly outdoors.

The Son is one of those movies where everyone is acting their socks off, exhibiting their range and sensitivity to the point where one can imagine there was a bucket on the set positioned to drop in the expected awards. It may well work for Florian Zeller’s theatre fans used to a lot of intense anguished dialogue, but it’s very claustrophobic as a film and lacks the tricksy double casting of key characters that made The Father intriguing.

It’s not often that an exhibition makes me cry, but then it’s not often that a show reveals the degree to which we have been duped. Action Gesture Paint includes the work of some 80 women, half of whom I’d never heard of. Given that I’ve been a critic for over 40 years and consider myself well-informed, that’s pretty mind-boggling.

Where have these artists been hiding? Or, rather, who has been hiding them from us? No marks for guessing it was the male-dominated art establishment.

The frantic world of finance moves fast, its giddy successes and thundering crashes causing ripples – sometimes tsunami waves – that affect us all. When director Sam Mendes and adaptor Ben Power first brought the story of the Lehman family to the National Theatre stage in 2018, a mere decade had past since the catastrophic economic crash, triggered by the bankruptcy of Lehman Brothers, in 2008.

Yes, Brendan Fraser gives a fine, Oscar-nominated performance as a morbidly obese man in director Darren Aronfsky’s mawkish, voyeuristic The Whale. Best known for Gods and Monsters, George of the Jungle and the Mummy trilogy, and more recent TV roles in The Affair and Trust, it’s Fraser’s first lead in a film for 12 years.