Films Out Now: UK

The film’s locations are a feast for the eyes.

Anchored by Anthony Ippolito’s performance – he not only bears a striking resemblance to Stallone, but his physical and verbal mimicry is uncanny.

The first Japanese production to be shot specifically for IMAX, there's plenty big on that big big screen.

More poetic than narrative, its disparate stories connecting as a sort of shared elegy to what and whom has been lost.

La Bola Negra was an unfinished work in a life cut short but the film named (variously) for it is extension and tribute and triumph.

The most volatile, morally complicated material is treated as turbulence to pass through rather than weather to be reported.

This is about war being fought in a moral maze as Hawkins considers the invasion of space owned by others and the way that borders, both physical and ethical, can be redrawn from a very corporeal perspective.

Credit is due to John G Avildsen for directing (he won one of three trophies), but the real victory here belongs to Sly.

With its beautiful look and haunting themes and sublime performances, Raise The Red Lantern is Yimou’s master work.

In making V a symbol of vengeance, valiance and victory, V For Vendetta does for a letter of the alphabet what Kill Bill did for the colour yellow.

Malkovich and Rockwell are magnetic.

While there are undeniably parts built for the big screen spectacle, which are juxtaposed with an emotional weight, the film's rudimentary form is the enemy within.

Writer/director Hanna Bergholm walks the line with skill.

Seydoux takes us into the maelstrom with Lucy, determined and doubtful, angry and grief-stricken, fearful and belligerent all at the same time.

I suspected there'd be ideas introduced that lesser films would attempt to spin out while this grabbed another and another and another, and so it came to pass.

A masterpiece of accomplishment.

A film of extraordinary complexity and fascination.

An in-depth portrait of the production, a rare opportunity to see how a film on that scale is put together.

Rarely does a character jump off the screen in the way Klara does. Ortega is luminous in the role.

Full of anger and love in equal measure.

The way Zischler and Hüller play their relationship is so wonderfully real and subtle and appropriately opaque for all us non-Mann family members, that it at times brought tears to my eyes.

The popular concept of genius is thoroughly subverted here.

Director Wes Craven... brings just the right atmosphere of tongue in cheek and plain old fear to the proceedings.

Nothing quite works.

Abraham and Szor’s approach is systematic and sobering.

Ní Chianáin captures the sense of monumental shift – coming one way or another no matter what we do – with images of giant, ancient trees uprooted in a valley through which the flood waters have passed.

As a director Adamik is good when it is close up and claustrophobic.

It’s Drucker’s mesmerising performance that papers over the cracks.

Nobody seems to notice that this unresponsive woman is not in fact paying attention to them, and Kramer spins this out impressively, building drama from a mixture of monologuing and imagination.

The first thing that will strike you is how absolutely lush it is visually; the pastel landscape is utterly iridescent by day, and star-dusted luminous by night.

Constantly chilling and never less than eerie, this first colour outing for Vlad is undoubtedly the stuff of nightmares.

The less you see, the more you believe. Chilean born writer/director Alejandro Amenabar, who is still in his twenties, knows this.

What the film achieves, better than any other rock music movie, is how unorganised and stupid so much of what went on behind the scenes was.

By focusing on the journey of how a spy becomes the Bond, James Bond we all know, the movie manages the impossible task of coping with all the baggage laid before it and reinvigorating our interest.

Well acted and well shot, with some interesting visual ideas.

The strength of the film lies not just in the personalities of its leads, but in the rich detail observed throughout.

A beguiling mix of magic-realist fable, coming-of-age drama & post-colonial critique.

Digger is not a film that invites fence sitting.

The sound design here is magnificent.

Imagine all the Terrible/Awesome Clichés That Could Happen In The American Wilderness and construct a mental bingo card to tick them off. Spoiler warning: There's a good chance you're going to get a full house.

Hope's scale and scope and delightful detail make it a banquet, if not an all-you-can-eat buffet.

Boorman has an extraordinary openness about him which would make him a compelling subject even if he’d never made a film in his life.

With a past working for a management company used by YouTube stars, Bongard knows his subject matter well.

Cox's Hannibal is a masterclass in moderation.

A follow-on that more than rivals its predecessor.

Pure, concentrated Studio Ghibli.

Independently produced on a budget of just £16,000, it’s really an astonishing achievement.

The age rating with its warnings of gore and language doesn't quite cover the extent to which filth and fury are scattered.

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

Open as he was to manifold artistic influences, Whistler makes a fine subject through whom to explore the late 1800s and the changing society of the US and Europe.