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The acting lacks the raw feel from the first film.

There are images here that will be forever etched in genre lore.

Beyond simple voyeurism there's really no reason to care.

Better than you might expect but not as good as you want.

The film has a faded look that is nicely rendered and the pier is used to good effect.

The performances by Naomi Watts and Martin Henderson are intense and charming.

The uneven nature of the script and this slapdash glueing-together of three narratives means that, in its later stages, the film is more miss than hit.

Once the action gets going, it’s easy to forget that the plot has left for the planet La-La and just enjoy the fun.

Raising Colors treads on unfashionable grounds and emerges victorious.

The conflicting concepts of motherhood at the heart of the film give it a depth and relevance unexpected in this kind of genre piece.

It’s refreshing to encounter a multiverse film that doesn’t mess about.

It's Riseborough who carries it, and on whose carefully judged performance its emotional twists and turns depend.

Lafosse makes excellent choices with his editor Marie-Hélène Dozo (long-time collaborator of Jean-Pierre and Luc Dardenne) in what is shown on screen and what is left out for us to fill in.

Orlando Bloom is stunning, a performance of looks and grunts and things unsaid and, gradually, of speaking.

Although Ozon never quite makes his mind up about the tone of the piece, the weird juxtaposition of the normal and abnormal is mostly effective.

Watch this on a big screen if you get the chance.

It drags and is held together only by the fact that there is a super-irritating electronic score playing incessantly in the background.

There’s no denying that the film’s polemical message is still relevant today, but it’s an old argument, didactically constructed.

Almodóvar goes all out with the delights fashion has to offer, bright colours, the joy of transformation - because it is never too late for sartorial metamorphosis.

The writing is sharp and succinct.

Undoubtedly a classy mainstream product.

Besides the schizophrenic storyline, what really brings the film down to a 3-star experience is the fact that director Wayne Kramer uses every editing technique he can think of, despite whether it is appropriate or not.

Leave your prejudices at the door. This family adventure might surprise you.

You can't help feeling you've seen this all before... and not just in this movie.

Nadine Marshall delivers a performance of quiet intensity.

It’s hard to argue that this is anything but a love-letter.

Zeb Lamb’s film oozes style.

The moral is supposed to be that, underneath the cultural trappings, women are women all over the world. Sadly, what the film actually says is that, underneath the cultural trappings, women all over the world are just as shallow, vapid, superficial, and v

The fat-is-gross non-PC running gag trips up after half an hour.

Planell has been working as a writer on Spanish television for several years, so it is little surprise that this story feels as though it could just as easily be an episode in an ongoing soap opera as the basis for a feature film.

The insular world of inner-city gangs is evoked quite successfully with the unshakable sense that these young people are trapped in vicious circles of perpetuating ignorance.

Sharknado pulls out all the stops and delivers one of the best B-movies for years.

The expectation of desperate passion, or bloody horror, is dashed.

It is well observed, constructed, the small moments of and with consequence feel authentic, inescapable.

The film’s simplicity is its strength.

Both actresses give performances that touch the heart.

Like all slasher movies, you know the cast will be picked off one by one in increasingly disturbing ways.

There’s no reassurance to be found in this cold world but Campos’s talent for getting mood whistling abominably through your ears is worthy of admiration.

A feel-good coming-of-age movie that leaves you with a smile on your face.

Slice And Dice is a solid little film that will thrill fans of a neglected genre.

If you're a fan of the strips, there's nothing much new here, but that's part of the charm - seeing favourite sequences come to 'life'.

It's the kind of film that new relationships will form around and that some viewers will remember fondly all their lives.

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

Bitter sour and mean spirited.

The cool, detached, yet paranoid tone is impressively held, both through visual design and music, until around halfway through.

The film is a lot of fun if you don't stop and think.

Despite all the chaos, I've seen more mild peril in an episode of Scooby-Doo - except that, in Scooby-Doo, the female characters have some agency.

Kain's finely judged performance is a joy to watch.

Blending film and animation, this film takes a sidelong look at bodies and what it means to be bodied.

This is career-breaking stuff for Black.