Edinburgh International Film Festival — A–Z of films

Offers a wealth of engaging detail

It doesn't quite manage to smuggle its magic through.

Heldman’s sharpest instinct is to show how a society polices intimacy by pretending it cannot see it.

It’s rare to find a character this well developed in a slasher film, but Goldhaber pays equal attention to the smaller roles.

Goodbye Cruel World shifts the narrative away from the bleakness one might expect, showing that it’s possible to make a film about a difficult and sensitive subject with tenderness, humour and sprinkles of hope.

By this point in his career, Ken Branagh had found his voice and a set of skills to match his confidence.

Grounded in whimsy and wonder but willing to embrace a dark edge

Writer Michael Arndt has cleverly captured the bribery and corruption which lie at the heart of most families.

Joseph Field Eccles and Nick Smyth’s sound design...is magnificent from start to finish, and full of playful touches.

The performances of Lind and Stanley capture the close intimacy of female friendship and support with an easy chemistry

Lance Hammer’s drama confronts its subject unsentimentally head on with no holds barred.

There are so many distractions and superfluous plot points that the only way Bay can compensate is to turn every scene into an MTV blur.

Each set-piece revelation is sprung like a physical blow to the solar plexus.

Kingsley gives a chilling performance.

Suffers from an underdeveloped subplot and over-indulged length.

The film accurately portrays a generation in the crossfire which hasn’t been seen before.

Its comedy leaps barricades.