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Writer/director Hany Abu-Assad emphasises the menace in the mundane.

referential re-enactments of everything from Harold Lloyd to Fritz Lang will massage the ego of the informed but like most modern remakes, these scenes lack the heart and soul of their inspirations, and aren't imaginative or exciting enough out of context

This film delivers real thrills and real scares.

An unrelenting, absolutely riveting and often unflattering portrait of frontline action through the eyes of brave people doing their best to survive.

A taut thriller, rooted more in atmosphere, character and nail-gnawing suspense than the sort of sadistic gory excess that has otherwise typified this decade's horror.

The struggle which follows is, in places, difficult to watch, especially for viewers who have been affected by such issues in their own lives, so Heimann sensibly leavens it with humour.

There are plenty of low budget science fiction films with weak acting, bad scripts and tacky plots that remain great fun to watch. This isn't one of them.

None of this is very interesting, but the action does make up for it in part.

More combat means less time for character interaction, and by the third act, Jackson has already shoehorned in more characters than the film can handle.

The film looks great if you like sand

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

Reitz and co-writer Gert Heidenreich define home as the bosom of family, as an emotional shelter or storm, rather than simply the roof over Jakob's head.

The plot is punctured from the start.

There are no winners, only casualties

What distinguishes #Horror from other pictures of the genre, is the sly way Subkoff balances the levels of fright - where it is fun and where it is not.

While The Horseman will have viewers squirming in their seats, its take on the workings of vengeance is remarkably responsible.

Essentially a by-the-numbers romantic comedy with indie pretensions which are doomed from the start.

This slice of southern gothic is deep fried in almost every cliche you could mention from the last 50 years - and served up with an unfortunate side order of snakes.

Household Gods is unsettling. It attempts further tricks to that end... New walls are created

Anna Faris plays ditsy like a young Goldie Hawn, though not nearly so well.

The Rocky Horror Show flits briefly across your mind, except that was fun and this is vile.

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

A sensitive and well-produced account of a complex situation.

This should have been an insider’s guide to laughter. It isn’t.

Tooth-rotting nonsensical entertainment with a chewy action centre.

It's pleasing to see the usual bravado downplayed in favour of something more realistic; likewise, although the dialogue doesn't always sparkle, it's much more in keeping with the way real soldiers talk.

The characters of the animals are underdeveloped and the film is ultimately bland.

The blue bloods are either seriously screwed up or unapologetically vapid.

A film well worth seeking out, or rediscovering, if you like stupid films that are actually made by very clever – and very funny – people.

One film can change the world. This almost does.

Though it is flawed and uneven and can't escape the wide shadows of the London gangsta/hood films of the last few decades, Ill Manors does showcase a bold and confrontational directing style and subject matter

If the story of a stranger arriving to try and save a beautiful young woman sounds like a familiar fairytale, beware - this is Gilliam's work after all, and nothing is quite as it seems.

Taps into deep, Jungian terrors and turns confusion into an asset.

A beautifully shot, brilliantly acted incoherent mess, ranking up there with David Lynch’s Inland Empire as one of the most inscrutable films of the year.

An impressively self-sufficient horror film with a dash of socio-political commentary.

Graphic violence is mixed with tongue-twisting wittiness in Tarantino’s peerless signature style.

Mann brings an artistic density, adding another dimension to aspiration and fear.

One of the tricksiest, most tautly plotted rollercoaster rides through the thriller genre since The Usual Suspects.

Ziad Doueiri's latest film shows how the embers of history can stay warm for a long time, easily flaring up under the right circumstances - even those that seem innocuous.

A little light drama with a message for workaholics.

The relish with which Tom Cruise delivers even the most awful lines is quite engaging.

The noir-style bleakness gives it a taut atmosphere that most contemporary movies still cannot match.

It’s inventive throughout, well worked out in terms of effects, and equipped with characters we can really get to know, with some great work even in the smallest roles.

You might not think you're in the mood for buying, but his extravagant sales pitch is likely to win you over by the end.

The film is clever, too clever. It is like watching torture in slow motion.

Class and experience divisions form the bulk of the interpersonal drama and it’s as predictable as expected, with the added tedium of Hemsworth apparently defaulting back to weirdly out of place Asgardian diction, bellowing like Thor at every little thing

Line after line proves infinitely quotable... suggesting cult status as well as critical acclaim beckons.

From a gentle start In The Meadow gets very dark, very quickly.