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As well as being brain-dead, the plot is nasty.

Pabst is a master of the crowd scene and delivers some amazing work here.

Keep The Change tells an intricate love story, featuring people we rarely get to see on the big screen

A screaming mess of a movie that is just a few performances away from a waste of time.

Everything has a thrown-together feel, as the characters are tossed from romcom situations to action set-pieces and back again with no thought to applying any sort of grace notes to ease the transition.

The humour is too half-baked to be either unpleasant or blackly funny.

Is the movie a metaphor for sexual relations in the Nineties?

She clicks with Philippe, and there’s a wonderful openness about the film as she finds joy in being able to talk about everything with no fear anymore.

From a technical standpoint, Vaughn and the cinematographer Ben Davies outdo themselves.

Emde is a force to be reckoned with. The film could not have been made any other way.

Molocco’s performance is excellent and will make viewers feel for Molly even if they have no experience with this type of situation.

The documentary is clearly on the side of candidates, which is fine, but it could also benefit from a bit more scepticism and empathy for its auxiliary subjects.

Labyrinth Of Lies is an interesting document of a very important piece of national history, but it fails to make it engaging.

For those who like thoughtful, literary cinema, this is a delight from beginning to end.

By locating its own dedicated critic within the action of the film, it is possible to point out the triteness and question whether life can be so simply encapsulated within the tidy confines of literature.

The randomness of death in times of war aside, Land Of Mine - perhaps unavoidably - leans towards the conventional in its overall narrative arc.

Offers lashings of humour alongside its damning critique of greed and manipulation.

Schwarzenegger wisely tones down his previous big-screen persona and slips into a sort of late-in-the-day charm.

Much of the impact of the film comes from cues, visual and aural, away from the action.

A quietly observed documentary.

The performances are from the Be-Yourself-School-of-Non-Acting.

How the film avoids animation overload is with a script that apes cynical teenspeak and a voice cast that is ensemble perfection.

The director's problem is engaging her audience.

Several films have used almost this exact plot before.

As a one trick pony the film executes a number of repetitive moves that inspire a factor of fear which seems genuine

I suspect even Jarmusch’s most ardent fans will find longeurs.

Lin Clifton carries the film. She is haunted, haunting.

No plot, no point, except L'Intrus is consistently exciting to look at.

Socha is excellent as always, but Alex Howson as the reappearing resident compels.

Lapwing is a gritty, dark, period drama with more bite than the setting suggests.

These sharks behave more like the real thing, curious to begin with, observing and then swooping in for test bites rather than going straight for the kill.

Everyone involved here has done better elsewhere.

As Brucie bursts into yet another room and unloads his automatics into yet another group of anonymous heavies you’ll find it hard not to think that this has all been done before – and better.

Winslet performance holds a powerful sway, embracing Lee’s abrasive and conflicted personality and viewing the horrors with an analytical eye and a sense of bravado as well as despair.

Race is a complicated issue, and knowing the past, Daniels seems to say, is as important as making up your mind to act in the present.

The animation is loose, impressionistic; swirling streaks of ink form and reform, only occasionally coalescing into solid lines. It suggests that the students don’t really see the old man before them.

Denis and Binoche take a perceptive and light approach to what could have been hackneyed material.

A broadly comedic, sometimes raucous affair.

Offers plenty of uncomfortably familiar observations for anyone engaged in a relationship that is either long-distance, or just long-term.

A solid piece of work from director Marcellus Cox, whose skill in creating atmosphere is well suited to the theme.

Thompson's forceful, charismatic performance brings life to what could have been a relentlessly grim film, but it also unbalances the drama somewhat.

The deliberate airlessness - which finds contrast in the likes of Miss Harris' joy at her first knickerbocker glory - works well initially, but as Nighy has less screen time and the film slips into considerations of the switch in Williams' life in the past tense, it drifts towards the stagey.

In retrospect, Local Hero can be seen as a high point for all concerned.

The politics are basic if not base and do not fulfil a rich man’s lunch hour.

It is a shame that this lushly shot martial arts epic suffers from a confusing plot and some awkward dialogue that overwhelms good performances, fine action scenes and a dark take on the often glorified Chinese warlord period.

It’s a story which invites trust and faith in humanity even as it acknowledges that life involves risks.

The choreography by Coral Messam showcases the garments and limbs in movement.

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