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The incomparable Denzel Washington gives another of his thoughtful, sensitive performances that carries a surplus of the dignity gene.

At the centre of the film, Breaux is superb, not only capturing the pathos vital to the monster but carrying him through the long, slow process of cognitive development and emotional realisation without ever striking a false note.

It’s somewhat odd that Mendez has opted for several different styles for this, but every one is enjoyable.

Effective and brilliantly crafted...

Destroy All Neighbors knows exactly where it’s going but has no idea what to do when it gets there.

The film is orchestrated at perfect pitch

There's a fair helping of gore at the end, but not much else.

A cool, classic and creative action picture.

The film makes no attempt to disguise its theatrical origins.

When the price of obedience is a life of lies where humiliation has no bounds, the pent-up desire explodes.

Each successive scene hits you over the head with the ferocity of the action.

Although everyone knows the outcome, the film remains riveting.

Somewhere between the low brow cock jokes and the high stakes – by which, I mean the sharp wooden pointy ones – Radu Jude serves up a sharp edged critique of populism, capitalism and the modern world.

Although the film is played straight, there's a soap opera style edge of camp to it which mitigates against anyone taking it too seriously.

There are too many clashes of style, as if rookie director Michael Patrick Jann has thrown everything into the pot and stirred.

A remarkably efficient film.

The plot swithers this way and that.

A largely conventional thriller about the last-gasp of mission of a die-hard CIA agent that is lent moments of surprising poignancy and glimmers of madness thanks to Nic Cage's performance.

This film's attempt to contextualise a zombie threat as something more deeply political is clumsy at best.

Darkly, grimly funny in places.

Both a judgement on a country and the arrival of a new voice in Spanish cinema.

A fascinating meditation on the fantastique.

Everything is fairly predictable and heavily signposted.

A stagey, fast-food version of romance.

This is a grown-up film not ashamed to ask its audience to think rather than mindlessly emote.

This is water colour territory, the palette dominated by blues and greens - beautifully captured by up-and-coming DoP Brian Fawcett - Jools Scott's music subtly affecting and the mood as melancholy as rain running down a window pane.

Elevated by an outstanding central performance from Harry Treadaway.

It's not quite as comprehensive as might have been hoped, but it still has a lot to say and a lot of fun doing it.

Although the tone is a little uneven and the narratorial voice more of an affectation than any real use to the plot, there is a charm and verve to Amadeo’s film.

There's no doubting the seriousness of the point Chapiron is trying to make either regarding the way that young criminals can become trapped in a spiral of reoffending, but by pushing all the action into barely believable melodrama, his argument is weaken

Despite the limited options available to the young travellers, Kitamura doesn't let the tension slack.

Its exploration of the tension between the real and the fake is timely and important.

Bob may have the beefed up body of a bouncer but Hardy continually emphasises his softer, hesitant side, his body language screaming flight even though he is built to fight.

Surprisingly - fun for all the family.

It’s a real shame that the director doesn’t show enough interest in his own story or characters to make them anything more than sketches and surfaces.

Hope is the antidote. Really? They all say that. Can it be true?

Earwig invites you to listen, to put out feelers, to scurry.

The setting may be current and sound edgy on paper but beneath the zeitgeist veneer, the mainstream thriller formula they employ is as familiar as your slippers.

Making a band work isn’t easy when your mother gives you a strict curfew, your headmistress thinks punk is Satanic, and you don’t have any instruments.

O’Connor does not fall for the myth of a romantic place which breeds talent. Instead she recognises the pressure cooker effect of a tightly constrained world.

The acting is abysmal and the dubbing appalling.

Where the film shines is in the incidental details, the small observations and asides which contribute to setting the tone.

Cinematographer Thomas McNamara uses high ceilings and long shadows to give the subtle impression that the house is getting bigger and Suzanne smaller by comparison.

When the rubber meets the road of The End Of Oak Street it doesn't quite grip

A day-glo postmortem avant-garde mind-trip that for some will be enlightening, while others will find it to be little more than an endurance test.

Now it's Denzel Washington's turn, which means this is serious and requires a smart turn out at all times and a watch that goes 'bleep'.

Ford is a strong action director and spare plots often serve that best, but here the action is really the film’s only redeeming quality.

Creative licence has been taken with Jamie's story, of course, but the essence of it - and particularly the emotional beats - have a strong ring of truth.