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Sometimes absurd, sometimes bone-chilling, strikingly original.

Nakata's technique is to imply terror by suggestion, rather than the overuse of special effects.

I was crying with laughter 20 minutes into the film and would not stop until the credits rolled

The performances are captivating, especially from Yoshiyuki, who is bewitching and keeps her essentially unlikeable charater, sympathetic.

Deserving of special mention is the fantastically lush animated vision of Yokohama.

The past intrudes on the present in flashback, and though the moves between the periods are worked smoothly enough, the film feels torn between showing one perspective and the other while struggling to marry the two.

Hirokazu Koreeda's childhood adventure is a sweet and subtle tale of friendship, generosity of spirit and the triumph of hope over expectation.

The film consists of various set-pieces which jostle to outdo each other for gore and inventiveness.

It is in the women's emotions that the heart of the matter lies and Kore-eda, as always, handles them with an elegant lightness of touch.

The girls’ foray into swapping breasts for machine guns and fingers for knives strains for an eternally peaking crescendo which sees plot and humour sacrificed for wanton lunacy.

if you have ever enjoyed a kaiju film, you will love this.

Gómez's physical acting is superb, the ultimate in deadpan comedy, her empty gaze surpassingly soulful.

Thematically, it's a hugely ambitious effort.

This is a lovely, joyful film from writer/director Makoto Shinkai that will, alternately, make you smile and have you perched anxiously on the edge of your seat.