Bradford International Film Festival — A–Z of films

This seven minute short was originally made to go with Gravity but it stands up very well on its own.

The camerawork is rough around the edges but Ahmadpour and Peyda aren't scared to get in the thick of the action and they also show a keen eye for a framing shot.

The Big Blue is pure cinéma du look.

Performances by the entire cast are flawless. Paul Greengrass directs with energy and precision.

Parents whose eight year olds have just gone crazy watching their first World Cup would be well advised to take them along, as they'll probably love it.

Pooley and cinematographer Richard Bluck bring the story to life - along with the vivid possibility of death - and the big screen is the place to see it.

Blichfeldt keeps things simple and lets the process tell its own story.

Visually arresting, impressively taut and enjoyably idiosyncratic.

Writer and director Kevin Meul's humour has an edge so barbed it sinks in like a shoe spike and sticks.

Although displaying much of the barbed wit of his first film, this is a more measured and moving work.

Katz keeps the suspense simmering masterfully, alternating between building dread and releasing tension through uncomfortable mirth

Rok Biček's film shows that the drive to go against the grain can have as much to do with running with the pack as with embracing individuality.

A complex, multi-faceted portrait of the director's home region of Galicia, in north-west Spain, with imagery that is awe-inspiring in the proper sense of the term.

The Dirties... has two leads who work well with each other and whose naturalism and likeability draws us in

Proficient entertainment that marks debut writer/director Wyatt out as a filmmaker to watch.

The scripting is loose and Albertine - best known as the former guitarist with punk group The Slits - and real-life conceptual artist Gillick have the rawness that comes with first-time acting.

It is a sign of the strength of McNally's script that the film has attracted telly regulars Lysette Anthony and Sara Stewart to the roles of Kate and Vanessa.

Funny and imaginative, with the warmth of a secretly shared smile.

The film is intelligent and honest, without being, in any way, entertaining.

Although the pacing is sometimes poor, the sentiment - while occasionally straying towards the sentimental - is heartfelt and sweet spirited.

It's like a suicide. And there's nothing to look at

Sheer unadulterated pleasure often comes from the most unexpected quarters.

Cox's Hannibal is a masterclass in moderation.

Contains some of the little tramp’s most iconic movie moments.

Nords gets an excellent performance from Konovalovs - contrasting the enjoyment of the wide open spaces of his home city at night with the stress that waits for him inside his home or school.

What gives this film an edge over conventional rites-of-passage movies is its oddity.

For all that its often said "they don't make them like they used to" this is very, very close.

We're transported into a world of cinema; some of it is known, much of it unknown, which surely fires the imagination of any viewing cinephile.

This may be the modern day but Lino shows how these fights evoke something ancient and earthy that reminds us of connections to nature that many of us have lost.

Visually the film has emotional qualities that contribute to the feeling of admiration for Robyn's quest

Terminator 2 is a wonderful sequel, dramatically satisfying and a fine entertainment.

It still does things that surprise.

Fairly formulaic stuff, but delivered with real charm and verve.