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An intriguing and genuinely inventive piece of cinema of the sort which doesn't come along very often.

Archambault has succeeded in making a film with her subjects and not simply about them – imperfections and all, while the musical element serves her purpose perfectly.

Perhaps not as good as the sum of it’s parts, McGuigan’s second effort is visually impressive, a great comeback for McDowell and a launching pad for Bettany.

Barbosa's film painstakingly recreates that journey and, in so doing, also gives viewers an oblique insight into the director's feelings about the loss of his friend.

Perhaps better understood as poetry than as science fiction.

If Bress had kept things simple, this would have been workmanlike.

By the time the surprise ending is revealed, interest cannot be revived.

When it's not busy trying to impress, the film conjures up a lot of atmosphere and succeeds in disturbing.

Illusions are everywhere in this film.

David Scarpa’s screenplay wisely keeps the political machinations on a slow simmer, so that they are easily followed and don’t get in the way of the nicely worked set-pieces Scott has in store.

One of the most tightly plotted and sharply observed pieces of science fiction to grace our screens for some years.

Reconsideration of the way their lives were 'spun' for public consumption at the height of their fame is so interesting, it makes you wish there was more of it.

This is toxic masculinity masquerading as boredom, with Wenders' refusal to give it emotional adornment only adding to the sense of existential strangeness of the whole affair.

As much of a mess as the aftermath of its set pieces.

Video game storytelling has advanced quite a bit, to be clear, but as with so many things large chunks of Godzilla X Kong are trapped in the early 1980s.

Biopics are seldom so well mannered

The problem lies with the script, which is credibility shy and littered with loose ends.

There is a breadth of quality about the acting, including a fine performance from Sela Ward as Ben's estranged wife - making a lot more of her role than her meagre scripting suggests.

Deschanel is a very capable actress who has been crying out for the right script, but this isn't it.

The film staggers from one embarrassment to the next.

This is psychogeography, a place outback and beyond, where licit and illicit and moral and immoral are buried in shades of grey.

Penn has come up trumps.

One can't help but feel that the Queen would probably find life more fun if every royal outing were like this.

Slick, tense, darkly funny and very genre-aware.

For all the quality of the performances, it's the story that lets it down.

If the plot is poor, the direction takes dull to new levels of blandness.

Shot through with Leigh’s trademark improv-based dialogue, constantly finding humour and truth in the mundane.

Suffers from a lack of narrative tension.

Gordon has created a sweet drama that contains all the elements of a darn good story.

Ashby's daughter Leigh MacManus is one of the few contributors to offer an off-set perspective of the man - and it comes with a poignancy and beat of heartfelt truth that is lacking elsewhere.

There's a generosity of spirit here that is increasingly a feature of teenage dramas as writers and directors move away from stereotypes to more complex characters.

Shot in a very straightforward and open style, this documentary never feels forced but simply allows stories to emerge naturally over time.

One of the most impressive horror films of the silent era.

The mixing of fiction and reality, as well as a lot of aesthetic choices, make for an interesting echo of the Yugoslav Black Wave aesthetic.

Despite, or perhaps because of this general air of ephemerality, you want to hold on to the moment and particularly to that sweet spot of youth, so deftly portrayed by Clemons, when everything is blossoming with possibility.

Cinema is full of monsters, but few in recent memory have been so capable of eliciting our sympathy and understanding.

A tight little three-hander in which everyone has secrets.

I personally found Aster’s film incredibly unsettling, one of the closest approximations to the kind of nightmares that really shake me that I have seen on film recently.

The central pairing is the beating heart of Crystal's film and he knows it.

Flitting between the agonies of trying to be socially appropriate, real violence and frantic comedy, Homewrecker is a fast paced, character-driven film that will follow you around until you give it all of your attention.

When it's not exciting, it's funny and when it' not funny, it's entertaining.

A species of all-American folk horror bound up with Biblical fundamentalism and the tainted bounty of the land.

Hope is structured around seemingly small jolts that suddenly illuminate the big picture.

Formulaic but exuberant, packed with quirky humour and very difficult not to like.

The energy is electric

Although the acting here is uniformly good, both Schreiber and Tomei struggle to bring much life to characters whose encounters with struggle come so late in life that they seem singularly unengaged with the world.

This is a story of building a thing against impossible odds.