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At once a light satire on the perils of modern dating.. and an enjoyably absurd nod to more old-fashioned humour, writer/director Collington gets away with a lot because of the sheer energy on display.

Verbally, physically and emotionally brutal. You'll come out melted like ice cream.

One of the dullest films about war ever made.

Certain scenes feel too glib and stagey, as though they’ve been doused with pop video gloss – particularly the snow, which surely had its own assistant, make-up artist and trailer.

There is no particular style to the film and the performances are bland.

Boatwright has done an effective job of taking a group of people often perceived as anti-social and revealing the social bonds that underlie their activity and creativity.

Though the filmmaking is good, the bleakness of the message is unremitting.

When it becomes a horror movie it is a good one, but when it is not a horror movie it is a great one.

The performances are stunningly good and Gordy Hoffman's script avoids sentimentality, remaining economic and observant.

A moment perfectly captured.

The film goes a long way on charm alone.

Director Rebecca Miller gets terrific performances out of an admittedly terrific cast.

The acting is shrill. Cadell feels lost in another language, abused by a script that mocks her femininity.

It’s flashy and glossy where the original was fetid and grubby, winking at the audience where Lustig wallowed in the misery to memorable effect.

The plot strands are endless and allow for little character development.

Despite its missteps, there is substance in Mary Marie and indie dauntlessness in conjuring something from so little.

The most enjoyable aspects of Maya Dardel lie away from its pseudy centre.

The plot is bonkers, but that's what you expect from this kind of thing

Despite the rather distracting appearance of hypnotist Derren Brown in a minor role it is still a nice idea.

Rambling and incoherent, Messages simply throws another corpse into the mix every time things threaten to slow down.

Doesn’t so much leave threads untied as set the ropes on fire.

The bleached-to-monochrome palette and rich textures are stunningly beautiful to behold, if also deeply unnerving.

There are strong, even hilarious, performances throughout.

Bratt delivers the performance of his career.

One admires the cleverness of it, while wondering if there really are people who live like this.

The Mist has to introduce its beasties very early – and herein lurks the problem.

Machete Kills is a jumbled assortment of loosely related scenes whose main theme appears to be “how many different ways can you kill people with a helicopter?”

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

Maestro is a starry affair on all fronts.

Frank, funny and immensely entertaining, Magic Mike is a brilliantly bittersweet cautionary fable.

Holds your attention to the end.

Although this is set in the Nineties, the gritty feel makes it redolent of Seventies-set thrillers, a mood reinforced by the way that du Welz embeds us in Paul’s life from the start.

The ease with which McQueen shifts the tone from very serious argument to light-hearted banter is sterling.

Slijepcevic is a documentarian by trade and he maintains a strong sense of realism.

The movie feels driven by a realistic sense of outrage.

With so many smart films about modern day witch hunts out there, it's not clear why anyone would watch this one.

This is comedy in the Shakespearean sense, the whole story revolving around the importance of luck.

McQueen was an artist who designed dresses that became living sculptures

It is all very gently done.

While the choreography of all this is audacious, Hardiman is equally interested in dialogue. He loves an intricately worked sentence as much as a finely coiffed barnet.

Lars von Trier's sublime invitation to the end of the world is a grand film by a master story teller who does not repeat himself.

You can get a way with a lot when you deliver it with this much panache.

Deren's most famous, complex and mature piece of cinema.

The relationship between the sisters is well defined and sensitively explored.

This is astonishing stuff.

Sprinkled with a heady dose of magic realism, this film is lovely.

Mexican director, Guillermo Del Toro, does not follow Hollywood's traditional approach to nature's abnormalites. Fear is suggested, rather than flung at the screen.

Warm-hearted, atmospheric and joyously, ridiculously gory when occasion calls for it.

With a moody jazz score full of languorous clarinets, this is a long cool drink before the unseen war.