Bradford International Film Festival — A–Z of films

The long wordless opening of 2001 remains one of the most beautiful sequences on film.

Captures the seriousness and the sweetness perfectly

Beg, borrow or steal a ticket to see it on the biggest screen you can find.

As a history and celebration of Brando's life and eccentricities, it's hard to beat.

What might sound vibrant or at least quirky on paper ends up falling very flat on screen.

The story of five women working in and around a Beirut beauty salon may not, at first glance, seem especially intriguing, but Caramel is something special.

Taken as a straightforward comic horror movie, this feels too derivative and clichéd. Taken as homage or pastiche, it's not nearly funny, knowing or camp enough.

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.

By contrasting an artificial man with the real but unsubtly false men and women of the world and their queer existences, Burton presents satire with a dull thud.

The film is packed with surprise.

This is a brilliant work, capable of speaking to a variety of audiences.

Garage is one of the most depressing films I have seen in a long time, a scathing indictment of the way we treat the mentally subnormal, but it's enlivened by its own brand of dark humour.

Too enigmatic and slow burning for its own good.

Although Danny Glover gets first billing and delivers a complex, compelling performance, this is really an ensemble piece, with great work all round.

This comedic and profane tale of not-so-cold-blooded killers seems to be the fusion of two movies, a very funny buddy comedy and a ruthless gangster thriller.

Menzel has crafted a visual extravaganza.

Chan-wook Park has crafted perhaps the most original film of the year and one of the most moving.

Road movies come with clichés attached. Thanks to dialogue that strips convention to the bone, they have no effect here because they wouldn’t survive the verbal onslaught.

This is a dark, perverted, gritty, romantic comedy that, like a new relationship, comes with big indie warts-and-all.

You feel your will to live give a whimper, make its excuses and start heading for the bar.

The soundtrack is, of course, superb, and the television appearances and bootleg live videos testify to how charismatic Joy Division were as live performers.

Every performance in it is perfect.

Quirky directorial touches – such as Vellini’s blowing of smoke rings, or a dimming of sound at key moments - put the audience into the head of the protagonist and help us connect us fully with the characters.

In terms of comedy, belly laughs and unfortunate little accidents making a mess of the sofa, the Pythons has never been better.

Overall, this is a silly romp through some of the best legends medieval Britain has to offer, intercut with some fabulously surreal animation.

The facts are twisted out of recognition.

Unlike most of the films about Iraq, Redacted portrays a military that’s a catchall for the uneducated and unsocialised; and while many may find this offensive, it’s perfectly in line with the draft-deferring lowering of recruitment standards.

Christopher Doyle's cinematography has a rawness that belies the romance of the outback. The

Keeps the viewer enthralled throughout.

This cannot really be recommended as a cinematic experience. However, it's a thrilling piece of theatre, and a good chance to see two of the country's most capable actors at their best.

Deserves your attention, marking its director and lead as talents to watch.

This might be familiar fare, but Fumihiko Sori and his team pull it off with sufficient visual aplomb to keep things highly entertaining.

A staggering and petrifying insight into the very real dangers faced by Al-Daradji and his crew.

Darin... again proves that he can break your heart with a look, conveying unspoken emotion with a glance that taps you into his pain.

This is, in places, a deeply disturbing film... yet the touching scenes, when they come, have a surprisingly emotional depth.

If Andersson is good at using the visual to create links, then he accompanies this with a strong aural sense.