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The storytelling is crisp, clever and doesn't waste a moment with superfluous plot.

The latex and practical effects, the lighting dominated by primary red and blues, and the synth-heavy score by Steve Moore, all contribute to the strong Eighties vibe.

At first glance, one can feel the enormous amount of work, heart and effort put into the completion of this epic animation.

The film resembles a schizophrenic's acid trip - viscious, paranoid and out-of-the-box.

The story of Stanislas Petrov is one that needs to be told and The Man Who Saved The World is a near perfect telling of it.

More than anything, the film rests on Dyrholm’s performance, and she does not disappoint.

Besides the always outstanding Trine Dyrholm, Sofie Juul Blinkenberg is the revelation of this film because her scenes dip the screen into a clear virescent pool of elemental longing for unspoiled credence.

Miiku Sakanishi’s gentle debut builds a movingly humanistic consideration of family and community relationships, while also musing on our connection to photography itself.

There are a lot of characters, but they gradually flow together to build a fractured patchwork of what it means to be a veteran of messy conflict on any side.

There are huge struggles going on here, with far reaching relevance, yet everything is conducted in a very quiet, polite, downbeat way.

This is impressionistic filmmaking and the young director handles it with extraordinary confidence.

A sweet, funny, delicately drawn series of family adventures.

My Neighbour Totoro is a true family film, both about, and for, families and while it is wholly concerned with good, decent, likeable people (as well as endearing rustic entities), it somehow avoids saccharine sentiments or a pat resolution.

The stakes feel higher and the possibilities more open because we see much of it from a child’s point of view.

Mongol charges onto the screen from the beautifully desolate steppes, leaving clouds of dust, severed limbs and burning yurts in its wake. This is a classic epic.

Naomi Kawase approaches it with a sincerity and grace that make it both believable and magical.

The trouble is that the film takes great effort to counter everything that makes Sir Arthur Conan Doyle's creation stimulating.

If the smell of exhaust nauseates you and the sight of skinny grown boys going all the way with macho machines makes you want to take up cycling, stand well back

Reichardt observes the game coolly, yet provides more than enough detail to show the contradictions in her players' gambits.

Marie-Claire Marcotte’s feature début demonstrates an astute awareness of what it’s like to be eight.

There is no denying the impressive visual extravagance with which Bekmambetov executes his ideas.

For all that there's some gold within it the real treasure is in playfulness.

The premise sounds like a playpen for vulgarity but Michael Lucas's script is smarter than that.

Alexander Surkala’s sumptuous cinematography makes the place look endlessly beguiling and, intermittently, delivers us into the kind of darkness that can only exist in contrast with such light.

Parker has a tendency to wallow too long in the moment.

The film - whose bleached palette drips with melancholy - is, ironically given all those pent up emotions Uchida wants to outwardly express, best in its quieter moments.

Balabanov massages human nature's ugly heart.

The film throws ideas at the screen so much that it's not only for its two hours and change of runtime that it feels like more than one film at once.

Tarantino's on good form but there are moments in the middle of the 165-minute marathon where it flags before mustering for its finale.

Poonpiriya shakes the past and the present gently together, sometimes with a dash of nostalgia and, at others, with a splash of regret.

There is a fragility and brittleness to this but also an underlying warm sweetness that might just melt your heart.

Whilst [the] direction is effective and the acting is good all round, the script falls short of the mark.

The script lacks any kind of wit and the plot is so careful not to dilute the treacly sentiment that it's not exciting.

Rarely has the vacuum of values left by dramatic social upheaval been captured with such subtlety.

Every cliche that sang out of tune at the concert of dreams is here

If your experience of Japanese anime has so far been confined to bubblegum tweenies and manga mechas, then Kon's altogether more adult animation will come as a real revelation.

McCarthy has crafted a dependable chiller that doesn't break any new ground but does get under your skin if you'll forgive its faults.

There’s an increasing sense of the unnatural impinging on the natural.

A melancholy look at love and the various ways in which people understand their connections to others.

This focus on small events across a short span of time brings a pleasing specificity to what is also a story about the end of an era and the sociological changes which allowed Japan to move into the modern age.

Not so much From Here To Eternity as From Here To This Time Next Week, which is a terrible waste.

Without a doubt, Pesce is one of the most exciting young directors to emerge in recent years.

Yannis Drakopoulos is on fine form in the central role and there are some great supporting performances.

It's all about money and nothing to do with art. Merchandising Rules OK? Not OK.

The narrative is patchy and uneven.

Prey catches the spark of Predator in a way that other sequels often don't, haven't, won't.

Boasting the sort of edgy, quirky slant usually only maintained in short film, it never compromises it's oddness which is a joy.

The best praise you can heap on Push is that it’s nearly good.

Zbanic's measured approach ensures that we can't look away from the unfolding horror - something that she makes clear many at the time, both peacekeepers and non-Muslim residents, found all too easy to do.