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Trauma here isn’t a switch turned on by a force strong enough to propel it into being, but instead, it’s a slow-burning reflective state.

The egocentric nature of the film cleverly disguises what else is going on outside Jack's head.

The action scenes here are well handled and there are some interesting observations about how technological developments have changed the nature of policing.

The anatomy of CSI remains hale and healthy and is, in the ninth season of the show, arguably strengthened by the loss of old characters and the introduction of new ones.

Problems are always dealt with in the least subtle way possible, by characters and screenwriters alike.

The complexity of this multigenerational chiller is difficult to follow and sinks into the darkness of the waves.

All of it is so beautifully observed it is as waking from a childhood fever to demolish half a volume of Grimm before hallucinatory somnambulance washes once more over.

Excels in not taking itself too seriously while offering a refreshingly imaginative collection of adventures.

An efficient if inauspicious directorial debut with a horror thriller enlivened by spectacularly oppressive location work but hampered by faddish cliches tailored towards its tech-savvy teen target audience.

Joe Stephenson's directorial debut is a slightly uneven but ultimately moving drama that announces both himself and young actor Scott Chambers as up-and-coming talents to look out for.

After all, what’s so sinister about reading Aesop’s Fables? Everything and nothing, Corbet suggests.

Abdkalykov's attention to detail, from watching bugs crawl across floors, to the endless blue of the open sky mark out the qualities of a true visual artist.

You have no idea how enjoyable this is

There's a new Conan on the block, and he's in space!

The Director's Cut, as expected, beefs up the storyline with more established characters and small scenes to make sense of previously disorientating sub-plots.

We get a real sense of what it might feel like to be trapped behind a tiny boulder on a hillside targeted by machine guns.

A powerful piece of work, beautifully depicted.

One rarely sees a film this well crafted.

Sense of memory, sense of history, sense of time, envelop us like a high altitude fog.

A superb and impassioned documentary.

Like global warming, Miami just gets hotter.

Some of the most explosive episodes the CSI Miami team have put together to date.

Nick Frost's limited comedic talent cannot stretch to a faux South American dance devil with fire in his heels.

A bit of a one trick pony, the film doesn't really have enough ideas to justify its 98 minute running time, but there are occasional nice touches that add depth and black humour.

The novel angle it takes is the best thing going for this film, and it is a smart twist to an rote story.

It is the two world-famous guys Thompson tries to pin down like butterflies, as if she were a lepidopterist. They escape, of course, because their works are still alive.

Where the film really scores is with its brave exploration of the phenomenon of terrorism.

An alternative gonzo history of the Noughties.

It's important, when criticising some of the more clichéd elements here - the dark versus the light, the Tolkein parallels, the quests - to bear in mind that this film is aimed at older children, not your average jaded film critic.

The film contains grotesque violence and slapstick humour in a nonetheless affectionate take on the horror genre.

An intensely visceral film with raw performances from all the main players, Day One will be very hard for many people to watch.

There are good performances made of small moments throughout.

The more sophisticated parts of the narrative are developed in flashback and this is where Alderson shows his potential, working particularly well with younger actors and showing a good understanding of the dynamics of childhood.

There's a lot packed into Justin P Lange's downbeat horror fable.

Outside of the Russian Roulette scenes, the film has much more visual appeal, with noirish cinematography and a fluid style which recalls director Howard J Ford’s early work with his brother Jonathan.

Feels like the real thing.

Cleverly shot throughout in a style which contributes to the claustrophobia of the family’s environment and speaks to where power is positioned.

It's rare for such a talky movie to be so exciting, but the wired performances combine with the visceral effects and confident direction to create an utterly absorbing experience.

A tribute to the fallen, and so fine an example of cinematic craft that it ensures they will not quickly be forgotten again.

Death To Metal has been made by people who understand their audience perfectly.