Berlin International Film Festival — A–Z of films

Coppola's aesthetic is all about excess and lacks the self awareness that let Hammer Horror films get away with this.

Though not entirely successful, Lee's adaptation certainly has balls.

Frank's energy, together with Israel's rapid fire editing, keep the film appealing, though they may leave some viewers feeling worn out.

Structurally illustrates how the indigenous people don't see time as being a chronological straight line but as multiple realities existing simultaneously.

The symbolism in Fire At Sea is so organic that it might dawn on you hours or days after seeing the film.

The acting is ensemble, which means no-one stands out and everyone chips in. Day-Lewis, unrecognisable behind a 'tache wedge, is the most memorable, due to The Butcher being a bigger sicko than anyone else.

This is Scorsese at the top of his game.

The Coens' obvious fun in concocting scenes of mid-century paranoia is infectious.

A sublime family thriller

The combination allows for fascinating interplay of concerns.

Huppert is perfect - no trace of self-pity waters down the complicated emotions at work.

Its deft handling of feminist issues make it all the more ironic that it has been dismissed as trivial when in many ways it's the female equivalent of Wall Street.

Good documentary finds an interesting story or is interestingly told - great documentary does both, and Zero Days is that.