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Ross avoids the hyperbole of gore and mayhem to keep the emotions of what is happening so near the bone it hurts.

Condensed and symbolic in its approach, sometimes to the point where it becomes surreal, Hunting Daze uses a small story to address big subjects.

Hidalgo is Cliche City's nominee for the Been There award.

This is a film of double-entendres, innuendos and equivocal nuances, where words, looks and gestures alike are made to resonate with confounding ambiguity.

It's almost hagiographic at times, with insufficient distance, or authorial comment present, to establish a distinction between the distorted, hateful, misogynistic views of the two men and those of the film and its creators.

A bog-standard pick-'em-off-one-by-one splatterfest.

The film looks great if you like sand

What is Reese Witherspoon doing here? That's a loaded question, safety catch off

Isolated action sequences tend to feel perfunctory, jarring with the rest of the film.

Vital, if unpleasant, viewing.

The film travels from Hip-Hop to humility, from red carpets, back to Posen's studies in London.

Hant and Borodachyov's neatest trick is the way that the two men's awfulness to one another - a sort of no-holds-barred bitter-off - paradoxically stokes our sympathies.

Elegantly photographed, with beautifully constructed sets, this is a film that exudes quality from beginning to end.

Owen is fine when looking moody, but not so good when given dialogue - it seems too staged, too deliberate.

The simplicity of the set-up allows for a tautness, wound ever tighter by a rich score from Paulo Gallo, using slippery strings goosed by flutes, and sound design from Isaac Moreno and Mauricio López that emphasises the wildness of the setting.

The Inbetweeners is indisputably a very funny experience, with killer lines and creative insults coming thick and fast.

The Inbetweeners' real strength (and reason for watching) remains the accuracy with which it paints teenage existence in British suburbia.

Slightly more broad and over-the-top than before, but still well observed and one of the sharpest, funniest comedies on the box.

Damian’s visual treat of a film offers contemplation on ecological disaster, capitalism, and solitude, all within a story that could be described as a surreal anthology of images.

Even if the result is not ultimately very surprising, it’s well handled, with a mature understanding and a depth of commitment to character.

Feels like a tribute to the kind of passion for film which it addresses.

While the film's ambition should be saluted it falls short in ways that frustrate.

Álvarez's talent for highlighting the delicate expression of nature offers the narrative a meditative feel.

Zarchi finds a way to position his characters and viewers alike as both aggressors and victims. The results are neither comfortable nor pretty, but they are certainly confronting.

With a slender premise, set up and resolution, the fact that its small ideas can resonate so well afterwards is a minor triumph.

A beautiful piece of clockwork film-making, full of parts that rotate to change meaning.

Treading gently between the twin stylistic giants of French and Russian cinema, Hazenov's film revels in its duality.

Although flirting with melodrama, writer/director McGann remains wedded to the truth.

Anyone over the age of 35 will find the whistle-stop, romanticised tour of Thatcher's career offers scarcely any insight, skating over most of the interesting issues.

It would seem fairest to judge this film on its own merits but that's hard when it's trying so self-consciously to be Trainspotting.

Ryan is never less than sincere but fails to penetrate the heart of the matter.

If there's a message to be had it's that outwardly respectable men can be violent tossers, but that's hardly a revelation.

What makes it work is that the film sticks so close to the form of a traditional Hollywood romance, ignoring the tropes of gay indie cinema.

Great poets are frantically name-checked as if by way of justification when the overall effect has more in common with that of Douglas Adams' Vogons.

Stick with it, because this turns into a very funny and feelgood film.

Westerns require action and pace not brooding silences and broken dreams

The animator brings to full life precisely what his rulers were endeavouring to keep repressed: the nightmarish, the unconscious, the nonsensical, the abject, the uncanny, the insatiable, the immoderate, the ecstatic.

A well-polished calling card for writer/director Simon Welsford.

Make no mistake: despite the big cast, this is the sort of thriller you can safely snooze through on a plane, connecting with ease the dots between the clichéd fights and chases.

It is as if everyone was waiting for this to test the limits of their talent.

The film is both intense and frustrating.

This may be Will Gilbey’s first feature as director, but his background as an editor means he knows how to construct an action sequence, and he delivers one great set piece after another.

The simple narrative is less important than the Vajdas' scrutiny of the psychology and complex nature of addiction, with Arámbula's performance magnetic in its vulnerability.

The film is at its best when Tati is on his own with a simple prop like the bike, when his distinctive personality comes to the fore.

This is a mainstream consideration of Garland's life but Zellweger brings fine art to its more broad brush moments.

Julia is a film about food and about the change in attitude towards cooking one woman could spark.

If you liked the first film, this is a lot more of the same, with the curmudgeonly DeVito adding enjoyment to the framing sequences.

Entertaining, adventurous and funny, certainly not a mental whiteout as expected

The heart of the film is a performance from Harry Gilby, in a feature debut - ably managing to convey not only the struggles but the strengths of young Charlie in the face of any number of vicissitudes.

There is a reasonable amount of sarcastic wit, stereotypical female hang ups and ridiculously embarrassing situations to satisfy.