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Why something so English, which includes actors of David Hayman’s quality, despite the Scottish accent, appears rudderless is difficult to justify.

Although there’s an increasing number of films on related subjects, this is the first to adopt the language of mainstream cinema with such success.

There's a certain flavour here, well executed.

Flashback seems designed to allow multiple simultaneous interpretations.

The acting alone makes Flawless essential. Schumacher's script is a bonus.

This is Foster's film from start to finish.

The embarrassment levels are high

Feels more like an amuse bouche than a full meal, while at the same time all proving a bit too much.

Lorne Balfe’s magnificent, melodic score shapes our sense of time passing, just as shots of the open desert, of the emptiness around the palace, add to our sense that all that history is present and immediate.

It's rare to see this approach taken in cinema, humanity finding a way in where there would ordinarily be panic, horror and destruction.

There is a magnetism to it all.

Bursting with creative energy.

A film like this is a costume designer's dream.

It all has a very particular flavour. Even a new one.

Pfeiffer’s delivery is fantastically inscrutable.

Shelley is an effective lead and Will Mobeley’s theremin-haunted soundtrack helps to maintain an unsettling atmosphere.

What's noticeable about Gillespie's version is how little really has to change to make it work.

From Where They Stood gives back the gaze to those who dared to record what they witnessed.

The film stands back, doesn’t take sides. As a political thriller it stays out of politics. As a human drama it rocks to a gentle rhythm.

The film is in danger of resembling a caricature of working class life, circa 1960

You've seen it all before, but that's its strength. That cranked footage, those desperate eyes, the obscuring sand.

A thorough, engaging and sprightly consideration.

A functional disaster-cum-rescue film with a glut of special effects.

The problem isn’t that we seen it all before – it’s that we’ve seen it all done better. Much better.

It is refreshing to see a film which refuses to romanticise this subject matter.

It's not the action or the tension that makes this film important; it's its position at a point of historic and cinematic flux.

The script doesn't patronise its characters, showing they're just as capable of the best of actions and the worst as anybody else, but makes sure we understand the additional pressures they face.

In all this amazing whoosh and whiz someone forgot the story.

Anna’s story is a romantic one, but not in an obvious sense. It is bitter sweet, which gives it an edge.

Forever Loved is at its best when it avoids embellishment.

An odd mixture of psychological thriller and sci-fi gobbledegook.

There's a sense that For Your Consideration has followed in the footsteps of its own premise, that of an inconsequential movie which has managed to make it.

The quality of the writing, editing, cinematography and everything else is top-notch, but it’s undoubtedly a bleak, hard watch.

Fabienne Berthaud's film meanders between dissonant, ethereal scenes in the sanatorium and the frenetic action of a photographer's studios... the contrast between these two worlds is absolute.

Gerald McMorrow has conjured up a film that spans many genres, coupling inventive storytelling with a strong visual aesthetic.

Some of the plot twists strain believability but Ross has a tight hold of the film's emotional drivers, mixing moods like a heady and dangerous cocktail so that a disturbing tension builds.

Funny, brilliantly scripted and subtly moulded.

Rahim shows here that A Prophet was no fluke.

"Every man is a man. It's as simple as that."

If TV sitcom veteran Carrivick’s film debut doesn’t quite milk the film's comic potential to the full there are still worse ways to pass 86 minutes – in this dimension, anyway.

Some films are made with so much love, and are so palpably full of people enjoying themselves, that the mood is infectious.

The course of true love never runs smooth, especially if you are inclined to murder.

The animation is breathtaking and the characters are funny, charming and occasionally scary.

It takes your blood and sticks it in the freezer.

Ayer’s film doesn’t really have the script or plot to back up all the hardware.

If you're willing to go with the flow, this study of emotion develops and maintains a sensual and sensory intensity.

Bill Murray is the voice of Garfield. So laconic, so cool, it's amazing they have never joined up before.

The final act has multiple twists but by that time interest has waned

The weaknesses in its narrative and dialogue are in large part compensated for by the elegance of its design.

Loosely structured, although maintaining an impressive balance between its stories.