Dunoon Film Festival — A–Z of films

Any film that has both a fight director and a dance choreographer is probably doing something right.

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

So much is going on that Nakache and Toledano are able to slyly set-up jokes in such a way that we barely notice them, so that when they pay off their impact is greater.

Beautifully shot and articulated.

The real pleasure of the film is in the non-stop parade of funny, well-observed scenes and killer lines of dialogue.

Despite, or perhaps because of this general air of ephemerality, you want to hold on to the moment and particularly to that sweet spot of youth, so deftly portrayed by Clemons, when everything is blossoming with possibility.

Go in as a fan of Anderson's work and you will not be disappointed. Go in as a fan of film and you will likely be delighted.

A beautifully shot fun romp that isn't afraid to question received ideals of morality and find them wanting.

Deadpan absurdity, everyday madness and enlightenment through routine merge in an attempt to answer the big questions of life.

The journey to this point for Sierra speaks of the passion project that it is - and the film benefits hugely from his engagement with the emotional aspects of the story.

The film wears its story lightly. Even when Simón is dealing with heavier themes her focus is on Frida and her emotions.

This is so well observed that I feel fair expressing concerns about the choices of font in certain official publications.

There's a savage kind of beauty in Pretsell's portrait of desperation and despair.

Pure joy from start to finish.