In the best tradition of the Gothic, the plot is overwhelmed by the themes and the finer points of the acting frequently lost beneath exuberant displays of emotion.
In 19th century Bavaria, deranged Baron Zorn keeps his children locked up because he thinks they are possessed by tainted hereditary madness. It’s up to discredited psychiatrist Professor Falkenberg to unravel the dark family secrets.
This is water colour territory, the palette dominated by blues and greens - beautifully captured by up-and-coming DoP Brian Fawcett - Jools Scott's music subtly affecting and the mood as melancholy as rain running down a window pane.
An English mother and son preparing their French summerhouse for sale both face emotional challenges as nostalgia and first love pull them in different directions.
Competently filmed and acted and, by all accounts, faithful to the novel, it’s the story itself that hinders Desert Of The Tartars as a piece of cinema.
A young army recruit is sent to a remote and mysterious desert outpost.
Destination Unknown asks a subtly different question from most films that went before. Which is, how did those who came through that time survive? Even, have they truly survived?
Dcoumentary, featuring the testimony of Holocaust survivors.
Lang's elegant expressionist imagery provides continuity and Dagover brings soul to her four characters, making them distinct yet connected through their passion.
A young woman pleads with Death for the life of her beloved, and is presented with a challenge.
Sammo Hung provides the action sequences, there are model shots and good old fashioned matte painting and the costumes - oh, my, the costumes.
When spontaneous combustion claims the lives of several members of her court, an empress calls on the brilliant and inventive Detective Dee to solve the mystery.
A movie like this should be fun, or disturbing. To be neither means that two-and-a-half hours watching Reeves attempt a purposeful expression and Pacino play the diabolical charm card is a long time waiting for cheesy effects and naked bods.
An upwardly mobile lawyer discovers his boss is the devil in disguise.
For the first hour or so of its runtime, Devil's Gate smoulders with tension, piling on one horror after another as its spins out its central mystery.
Struggling to overcome a recent professional tragedy, an FBI agent relocates to a small town to investigate the disappearance of a woman and her young son.
The new footage in this integral version leads to more of an extended remix rather than a radically different film, as can often be the case in Franco's notoriously tangled filmography.
A starlet is kidnapped and taken into a cannibal-infested jungle.
If some suspension of disbelief is required to accept the premise of Michael Mongillo's film, it's earned by Smith, whose troubled character is more sympathetic because he makes no effort to be liked.
A disabled war veteran discovers the dead body of beautiful singer Diane in his back yard. Obsessed with her, he soon becomes the prime suspect in her murder - but worse is to come.
Romero has started all over again as though his other films exist in some parallel universe. Just to prove anything a younger director can do, he can do better, the whole thing is shot cinema-vérité style.
Film students try to record the end of civilisation as they know it when the dead begin to walk. Plus read our exclusive interview with George A Romero.
