Cinecity — A–Z of films

As a first feature, it may not be totally surprising or very subtle, but it does have some impact, particularly visually.

The title of Niall McGann’s documentary is a joke, elevating the work to a level of self-importance that the mischief therein consistently and amusingly undercuts.

The arguments are persuasive, and Balog is a charismatic presence at all times.

Small-town prejudice and the fear of otherness are roundly exposed for their absurdity, but the sensitivity of the artistic disposition and even the importance of good dental care are also sensibly celebrated.

Vibrant, funny and ultimately touching, Leon's loose limbed narrative is an ode to both the tribulations of adolescence and the city in which it's set.

Sigríður is the kind of spontaneous interviewee documentarians dream of.

An intense performance from Mads Mikkelsen, who is an actor rarely bettered when it comes to playing men in savage situations.

Are Bill Murray's fabulous presidential brogues what is worth remembering most, or are some of the statements about gender still valid commentary?

Ozon loves to let his audience's perceptions clash.

Hirokazu Koreeda's childhood adventure is a sweet and subtle tale of friendship, generosity of spirit and the triumph of hope over expectation.

Given the Rampling family pedigree there are certain expectations of quality, and Southcombe largely lives up to the promise with this sharply stylish crime mystery that gives plenty of space for Rampling to flex her acting muscles.

Pablo Larraín's No is a resounding yes!

I struggle to see how the movie will appeal to 'foodies' let alone those for who food is a run-of-the-mill necessity, especially with such unsympathetic leads as our eyes and ears.

Dustin Hoffman's condescending direction turns old people into horrible giggling puppets.

Jake Schreier and scriptwriter Christopher Ford go well beyond the initial fun of the robot conceit to craft a thoughtful film musing on both the ageing process and our relationship with technology.

McDonagh just about makes this ultra violent meta train ride all hang together.

Isolation rules and comfort is cold in Scott Graham's gripping and emotionally tense feature debut.

You will learn a few things here, even if you are a film buff.

If Malick's lands were bad, then Wheatley's are sad, as small injustices, petty jealousies and perceived slights lead to cold blooded murder and childish revenge.

The movie hits some nasty sweet spots but also falls foul of numerous genre cliches, both old and new.

This is no chest-beating, flag-waving war movie, no propaganda for conflicts past, present or future, War Witch is the story of childhood destroyed, a country in flames and of how we survive the worst of what (in)humanity throws at us.