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Cronenberg has created a dazzling star in the futuristic psycho-thriller firmament.

Huppert's outstanding performance embraces with unswerving delicacy the controversial decisions she faces.

The brave new world of electronic dictatorship is not ready for this. There are no maps.

You know you can’t be certain of anything. And that’s disturbing.

Refreshing and breezy - but also forgotten almost as soon as it has wafted by.

The early stretch strikes a nice balance between surprisingly mature human scenes and the soaring spectacle of the Leaf-people’s lives.

The script encourages smiley faces and it's this, more than the storyline, that helps you love these little guys

As the action progresses, this quickly becomes Marinca's film, as she uses her body language as much as the script to suggest more subtle forms of angst.

Everlasting Moments is one of those moments in cinema that comes along once in a blue moon.

There's something increasingly bland and uninvolving about this Will Ferrell vehicle which, like him or loathe him, you've got to admit is a kind of achievement.

While clearly aimed at fans of Bond, there's a lot to sell this to those who are unfamiliar to the franchise.

I fell asleep several times during the film, but some of it wasn't dreadful, some of it was just bad. Very bad.

Exam drifts from being genuinely enigmatic and moody to derivative, disappointing, even ridiculous.

Exit Humanity's attempt to rewrite history may bring a bit of fresh meat to the table, but it hardly adds up to a bright new future for the zombie genre.

Throw away The Bible and let's look at this thing afresh

It's a shame that it ends up running round the corridors instead of making something of the various opportunities it has to throw in twists or add depth to its storyline.

The film's only real crime is perhaps that it celebrates the life of Edie rather than Andy, and does that not particularly well.

What should have been a chamber piece for veteran writer/director Jean-Paul Rappeneau turns out to be a racer, neither in control nor out of breath.

A journey from time immemorial, played out in a contemporary drama with sensitivity and an eye that will not flinch from the pain that is involved.

For me, and I suspect an entire generation, this is the definitive, almost faultless, take on one of English literature’s most powerful and evocative works.

This invigorating tone poem is far more difficult to describe than it is to sit through.

A surprisingly rich, inventive film noir in many ways.

The film succeeds so well in a genre, where pastiche is the norm, by accepting absurdity as real.

The detailing, including the flamboyant naming of dresses and the rush to be finished, feels as right as a perfect necklace, so that it sets off the wider fabric of the story without detracting from it.

As might be expected from an actress-turned-director, the performances are important to Tezel but she also shows an aptitude for visual storytelling.

There’s a lot of big drama and not so much of the subtler stuff which might help viewers to feel connected.

While the gags are aimed squarely at a family audience, there’s nothing wrong with that and this is certainly a film you could take even tiddlers to without worrying they are going to have nightmares later.

The way Zischler and Hüller play their relationship is so wonderfully real and subtle and appropriately opaque for all us non-Mann family members, that it at times brought tears to my eyes.

Restrained performances from both leads contribute to the sense that something extraordinary is happening here undercover of the mundane.

Gilliam uses voice over (too much?) to give a taste of the Hunter S style and help explain what on earth is going on.

Tellingly, despite all this extra material, the film does not feel slower and does not become boring. If anything, it’s better balanced, with a more fluid sense of momentum.

As a family saga in the tradition of O'Neill and Miller, August Wilson reveals its destructive nature

The film is ludicrous and wonderful. It has genuine eccentric conviction.

Christian Bale - reduced lately to whispering solemnity in the likes of Dark Knight and Terminator Salvation - gets to really cut loose with Dicky in a performance that is sure to give Geoffrey Rush a run for his money on Oscar night.

At a time when safety is the key to Hollywood's washroom, David Fincher places a bomb under the plumbing. Expect to be shocked, freaked, thrilled and gutted.

As Majo, Gina Rodriguez's zest, combined with some genuinely catchy tunes performed by Rodriguez herself, helps paper over the cracks.

A dizzying array of original and masterly techniques.

It is difficult to find anything bad to say about a film that treats an interesting subject with such respect and ingenuity.

If Rutterford had been confident enough to keep things simple, he could have had a real winner on his hands here.

Finsterwalder gets remarkable performances out of her first-rate ensemble.

Stallone's energy and ambition knew no bounds in the Eighties.

Neumark has tried to cram the three-way dynamic of the central relationship into the structure of a conventional indie romance, which doesn't work.

This is a story about grief and loneliness here masquerading as one about rockets.