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Both Rodriguez and Rohana deliver delicate, nuanced performances in a story that revolves in large part around friendship.

Apart from the women/cattle cliche it is difficult to tell where the dagger of disapproval is directed.

I was won over by the whole approach of this confident sophomore feature pretty early on, from the witty, frank but also very tender script to the great casting and performances.

Ly wanted the people who have lived in these schemes to have the chance to tell their own stories, which gives Les Misérables an unerring sense of authenticity.

What makes the film interesting is the depth and complexity of its characters, together with the connections between them, which feel real and often defy expectations.

Van den Brink makes the bog omnipresent in the film with a colour palate heavy on browns and greys, whilst cinematographer Emo Weenhoff makes the most of the humidity still residing in the chill air.

The Moment’s biggest misstep is making Charli’s defining feature indecisive flightiness.

What makes this film stand out more than anything else is Ambros’ stunning editing.

More watchable than ever.

Jenkins doesn't just show us the experience of his young protagonist, he bathes us in it.

As a parody of Hollywood, this tickles rather than bruises.

What makes My Architect different from art docs that rely on talking heads, gallery discourses and dodgy memories is the personal touch.

Warren keeps the effects simple and trusts in Lincoln’s acting to do the rest.

This is a sudden and astonishing arrival for an adult actor.

This is really pretty familiar stuff, but it’s told well enough, and the leads are all likeable people.

All four actresses are excellent; forever chewing gum, Bartsch in particular is superb.

Khavn always remembers to lace his anarchic jamboree with socio-political concern as well as a vibrant affection for his subjects.

An emotionally complex and moving tale that more than justifies itself.

A savage deconstruction of Thatcherite beliefs in family.

My Accomplice is an enjoyable little story that bimbles along quite pleasantly and leaves one generally pleased for having watched it.

Only in France can a film of such delicate sensibility be made

Released to coincide with seasonal spending sprees, it will help to float modern day Herods' coffers.

Lorene Scafaria's script sparkles with breezy wit.

This is an intimate and very endearing film. It's also delightfully quirky.

And so we get a very engaging, often suspenseful movie in Navalny, a record of the dangers that come with pissing off an authoritarian regime.

Not just a little tragic, not just a little life-affirming, but touching, moving.

Lucio Fulci's audaciously sleazoid slasher is designed to provoke as much outrage as possible, but it also just about cuts it as a classically-styled giallo thriller.

Canet is fantastic in opening up more and more of the secret chambers in this frightening man's heart.

There’s not a great deal here that we haven’t seen before, but it’s well delivered.

You're going to want to break out your crime cliche bingo card early, lest you miss the full house.

You genuinely feel how much his characters have faith in their gods and their folk tales as an extension of their everyday lives

The movie's two main strengths are Max Schreck's compelling performance, as the eerily inhuman vampire, and Murnau's unparallelled ability to blend naturalistic and expressionistic elements.

A unique piece of cinema which delivers more than its share of surprises.

This pleasant, thrilling watch shows Muntean is capable of making great cinema in some of the starkest places.

The shift from black-and-white to colour fails to compensate for bad manners, worse sex and dodgy explosives.

This is the official biodoc, which means the alcoholism is understated, the missed training sessions glossed over and the women mentioned briefly in dispatches.

Though it might simply be too depressing for the average cinema audience, this is a solid drama that showcases some of the best assets of contemporary Irish filmmaking.

While handling the action with aplomb - the violence is low-key but high-impact.

The good news is that The One That Got Away isn't a war film and its focus is much more upon humanity and breaking down the barriers of nationality.

Half way through you ask yourself, why am I watching this film?

There’s a still photographic quality to the cinematography from Lorenzo Casadio Vannucci, with the studious, fixed framing matching the meter of the film and allowing time for us to appreciate the texture, not just of the lives of these characters but the spaces they inhabit.

The mix of a humorous story with a well-set pace can’t cover up that the scientifically inaccurate lead element makes the story feel far too contrived.

There's a lot of good work here, particularly in the way that Durall trusts his actors to fill out key aspects of the narrative without words.

Though it's a difficult line to draw it never felt twee, just winsome, mostly wholesome.

Olympic Dreams brings warmth to these snowy vistas and finds a special kind of joy that might be impossible without the loneliness surrounding it.

The film’s difficulty is that whilst it is in many ways better made than the original, it is now no longer in the clever experimental actioner bracket.

There are no weak links in the performances here, but Ben-Adir is the standout, communicating most in the moments when he doesn't say a word.

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

We lack emotional investment in the underlying situation, possibly because Coppola is aiming to play almost everything for laughs.

OSS has style in spades.