Tribeca Festival — A–Z of films

By allowing a slow-build to his drama, he ensures we get a feel for the extended family dynamic before wrong-footing the characters and his audience with the suddeness and deftness of a heartbeat.

What emotional life there is in this set up - and with so much is going on, there isn't much - is crushed by dreadful narration.

Ultimately, this is your basic talking heads documentary, interspersed with footage that redefines cinematic cool.

The key to Black Dynamite’s success is that the film-makers know the difference between a good-bad movie and a bad-bad movie.

This excellent documentary is almost as subversive as its subject.

Director Yojiro Takita isn't afraid to give you an emotional punch as well as a punchline.

This 1920s play by Noel Coward still dances along like a sprightly flapper, defying the passage of the years, thanks to Stephen Elliott’s energetic direction.

The terrific performances are eclipsed by the unsettled tone.

A minor mumblecore treat.

It is the central love story - beautifully realised both in terms of camerawork and acting - that underpins all the rest of the directorial flourishes.

A powerful and moving documentary, which appears to give a thorough and frank portrait of its subjects and the impact of poverty and malnutrition upon their lives.

There’s nothing particularly radical about what Soderbergh is doing here.

Wonderful performances abound.

Although teetering on the brink of soppiness in places, and treading a well-worn path, the soft in the middle script is lifted immeasurably by towering performances.

As a genre filmmaker through and through, West is unlikely to be winning an Oscar any time soon – but when it comes to the extraordinary manipulation of tension and atmosphere, he is an unsung master of cinema.

Line after line proves infinitely quotable... suggesting cult status as well as critical acclaim beckons.

One of that all-too-rare breed of documentary – one that possesses a fascinating subject and tackles it in an interesting and engaging way.

Non-car people will find themselves forced into the position of disengaged anthropologist, observing all the vehicular bump and grind without gaining any real insight or emotional connection from the experience.

Moon represents a return to a more sedate and thoughtful science fiction of the Seventies and Eighties.

Kemp makes a virtue of his ‘going for a ride’ framework, so that the viewer has a short-hand indication of where each of the five segments into which the film is split will take them.

As well-constructed documentary, this contains emotion but avoids cheesiness.

Dick makes it clear that he only feels it necessary to out those who are essentially leading double lives - repressing gays on the one hand, while living as one in secret on the other.

Bernal and Luna bring the same casual and endearing spontaneity they showed in Y Tu Mama Tambien to the fore again here.

The pool routines are a good excuse for a great deal of funny business but it struggles to flesh out the subsidiary characters.

While there is no denying that a post-modern examination of John Hughes’ high school is interesting, there is an aloofness here which plays badly against the central will they/won't they romance.

Despite the drenched colour scheme, directors Lee Lynch and Naomi Uman have given their film a deliberately ‘home-shot’ look.

Jac Shaeffer plays around with the ideas of time and relationships like a malevolent matchmaker, finding plenty of laugh-out loud laughs in the process.