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Astronauts is a fast, fun film.

The film's sugar content is off the scale and it doesn’t help that everyone who comes in contact with Evan are sooo nice it reaffirms your belief in human nature – well, almost.

Further evidence of German filmmakers’ willingness to confront the darker episodes of their recent past – and spark a controversy in the process.

The path this film follows is similar to pregnancy itself - excitement, hope, increasing discomfort, problems with balance, an awkward self image, conflicting emotions as the conclusion draws near and then, finally, relief that it's all over.

It is as though all the moral ambiguity and mean-spiritedness of 1970s cinema had never died.

The anarchic nature of this dark comedy is the perfect antidote to family friendly Christmas movies, starring Tim Allen, now that Macaulay Culkin has learnt to shave.

The precision of Claire Denis' perplexities, the ardent blows that fire at the heart and the head, are unequaled in her film Bastards (Les Salauds).

Almost every action movie nowadays borrows from every other action movie and this one happens to be done incredibly well.

The Bad Guys 2 is proper entertainment.

At times, the dialogue is well done, scores points. At other times, it felt like we had wandered into a Socratic symposium.

There is talk of “hungry ghosts” and shadows but little of substance to show as the gambling cliches stack up like bad debts and the plot twists are signposted as brightly as the casinos.

It's a wonderful story and brings a tiny tear to the eye, even of this cynic.

Directing with confidence and misdirecting with grace, Paxton draws us into a world where the absence of apparent solutions becomes compelling in itself.

We all at some point in early childhood learn the difference between inanimate objects and sentient beings, but in some secret corner, doubt may linger on.

If you’re looking for explosive, mind-boggling special-effects driven set-pieces coupled with broodingly patriotic one-liners from Neeson et al, you won’t be disappointed.

If they sometimes have trouble moving seamlessly between the smaller dramas of childhood and the bigger picture of the protests, each element of the film carries resonance in its own right.

Worth watching for the performances, Beautiful Blue Eyes still feels like a bit of a missed opportunity.

This is the fascinating tale of the rise of two trends – the citizen journalist, and open-source journalism.

The subject is important and relevant and Peter Hedges avoids the obvious pitfalls with a skilful, honest approach.

It's difficult to know how much acting is involved in this film - and that, of course, is part of what makes it work.

The talking heads from the media world - PR execs, former journalists, other filmmakers - provide some of the more troubling yet fascinating insights in the documentary as to how modern corporate entities can react when they come under the spotlight.

It's William Sadler, as Death, who steals the show.

The sheer warm-heartedness of this film means that it is always a delight to watch.

This is not a film that will enable them, or you, to have a good time all of the time.

Those with a taste for B-movie excess may stay the course.

There’s still a vast amount of material to explore, and a lot of questions waiting to be addressed.

A sophisticated palate will discern any number of flavours running through Black Bag, but these are glosses on a traditional recipe.

Black Bear is a tremendously pretentious film but Plaza feels real and keeps it interesting, delivering one of 2020's most impressive performances.

The acting and the visuals are of the highest order, especially given the sensitive and personal nature of some of the revelations.

The world presented by Radlmaier is a creation in which not only are the social relations absurd but the time is mixed up.

Bloody Oranges is condemned to straddle between two half-baked tones.

Director Mercedes Bryce Morgan plies her trade with a style and verve which elevate this far above the 1980s straight-to-VHS erotic thrillers that it superficially resembles.

Levey’s enthusiasm for his subject is infectious.

Frequent close-ups build on the chemistry between the actors to capture that feeling when one individual suddenly seems bigger and brighter and louder than everything else in the world.

Although Brando With A Glass Eye boldly delves into the complex intricacies of method acting, it lacks an engaging style that hooks the audience throughout.

The problem with Breaking In is not that it is silly, but that it isn't quite silly enough.

The more personal the remembrances get, the more we can fill in what it must have been like to grow up in a world where the architecture provided a feeling of calm and order, while the personal lives of the adults were causing havoc all around

The script was thrown out of Sickville and now resides in a multiplex near you.

A great story, however flawed.

Season 4 proves to be difficult, absorbing, dark and of the highest quality of Scandi Crime.

Deutch has great comic timing and completely convinces as the sort of fast talking, wise-cracking hustler who could pull this kind of thing off.

It's not a map, it's a blueprint, a means of telling fortunes and a handsome puzzle to boot.

It’s all incredibly creaky, decidedly low budget and, despite being co-written by Private Eye’s Ian Hislop, all rather toothless and low on chuckles.

The shifting colours of the rolling waves are exquisitely captured, dazzling to see.

Ambiguity can be a strategy, but here it often reads like evasiveness.

Part coming out story, part romcom, and utterly uninspired throughout.

The body count is Shakespearean and the plot twists wicked.

This carefully played comedy sees characters buzz around each other whilst a network of words and expectations, often subtly misunderstood, seems to bind them to mutually frustrating situations.