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The characters' interplay, mutual respect and overwhelming joy at being accepted made my heart swell in delighted awe.

Not since Tarkovsky has the bleak face of Russia been so exposed.

An effective, atmospheric, stylish, very well-made chiller.

There's a creepiness here from the outset and no amount of dark humour can alleviate it; as the tension escalates grown adults will also find themselves hiding behind the seats.

The film’s strength lies in its quieter observations of change.

Really delivers on the robot action.

Patriarchal and paternalistic structures at both a family and country level are put in the spotlight.

Comedy doesn't come in many darker shades than that employed by Serbian director Bojan Vuletic in Requiem For Mrs J, this is truly the vantablack of humour.

What Sentsov does really well here is to show us the humanity which lies within even the most monstrous of these men.

This is an extraordinary film, not least because it is Japanese and yet feels universal.

The set-up is formulaic, to say the least.

There's a wham, bam, thank you, man, quality to this music biopic that makes it a pleasurable rock rush that's easy on the eye, even if it fails to do much more than skate the surface of the band of its title.

The film has all the bullet points for audience approval and yet somehow falls short

This is a film that is worth looking closely at, as everything shows signs of great care and consideration, and Sanctuary is certainly worthy of it.

It's worth noting that this is Altricher's graduation film - he's certainly got his career off to an impressive start.

The aesthetic is cold, the mood austere and the pace glacial in Alexander Sokurov's study of grief.

The whole point of A Serbian Film is to sicken and offend the viewer.

Everything is awash with an eerie, disorienting atmosphere... riveting.

There is so much going on that, through mad exuberance alone, Sex And Fury quickly achieves critical mass, bubbling over into something far more than just the sleazy sum of its parts.

Comedy rarely comes so bleak, and depression is rarely so funny.

It is Kryštof Hadek who steals the show.

Feels more like an exercise in personal therapy than a fully fledged film.

It’s all very Oprah chick flick, but that doesn’t mean it doesn’t have a real soul.

Divis Marek's flowing camerawork, masterfully pulls the film together, as the action is allowed to flow across its large ensemble cast.

Religious and family tensions are explored with care and sensitivity.

Eminently watchable for those in the mood for simplistic fare who are prepared to suspend disbelief.

Just as the sun dapples down through the trees, so the shadows of war creep in at the margins.

Whilst it’s thematically concerned with the blurring of boundaries, its own shifting structure and blending of genres contributes to the underlying unease.

Andrey Konchalovskiy aims to give his viewers the fullest sensory experience he can.

I was entertained, in much the same way but not to the same extent as the first outing.

Avraam doesn’t spoon-feed us details, letting the various issues Smaragda is facing emerge organically.

Zhao is in no hurry, allowing the sense of life in Pine Ridge to seep in to the bones of the film.

It is formulaic, but it's also bursting with conviction and insight.

As in much Russian science fiction, the tone here is darker and yet vastly more alert to the wonders of the universe than is usual in the Western equivalent.

It’s hard to care about a film when those involved don’t appear to have done so themselves.

Bigelow delivers a neo noir that hides its hope and redemption under a throbbing veil of paranoia, tension and adrenalin.

Although the story is simple (beyond its merging of two different sets of genre conventions), it's stylishly presented.

With a lesser canine star, the film would not have worked, but Nala is sensational.

More nervous children (and adults) would be well advised to stay away. Everybody else should go and see it as soon as possible.

If we compared the original to a Mark Rothko canvas - a distillation of raw emotion - this version is more akin to a colossal, baffling kinetic sculpture, one that seems to exist in more dimensions than it ought to.

It looks great, which means it looks terrible - in a real way

In the mindscape of Alice Through The Looking Glass, the surrealism of Steve’s predicament would be a footnote to The Patriot Act: Fear Or Frenzy?, if it wasn’t so tragic.

Kirill Serebrennikov takes a fearless approach to filmmaking, unafraid of blending intellectual ideas with realistic settings.

Performances are strong throughout the film, generating an effective mixture of simultaneous sympathy and anger in the audience.

It suffers from an air of deja vu.

Laugier's ambition remains commendable, but his execution is questionable, leading to a frustrating if occasionally intriguing experience.

It is nice just to sit back and let the day-glo colours wash over you, marvelling at the high-spirited energy.

An effective and well-made entertainment which slowly gets its hooks into you.

The setting may be small-town, but this is a vision in microcosm of a whole nation that has been driven inevitably towards anxiety and unease by self-imposed pressures and impossible aspirations.

The Turtles movie that I'd have loved as a boy.