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The film works on almost every level, particularly its central relationship.

Sadly, there is not a funny enough script or any particularly amusing performance to provide a backbone to hang the visualisations on, leaving Iron Sky as a more of a showcase for what low-budget filmmaking can achieve in terms of effects.

Billy Miossi’s documentary is elevated by a wonderful eye for detail.

This is a serious subject, expertly handled.

Not a great film but a fascinating cultural artefact.

A simple but compelling dynamic... the execution is superb.

A sharper and more effective dissection of the influencer phenomenon than we have seen to date.

I Am Not A Serial Killer strikes rhythmic beats with precision as the story progresses.

Pike won a Golden Globe for this performance and it's well deserved.

This is a film from the perspective of women: and not just one perspective, but many, which is what gives it its richness.

Superb performances from Marquette, Montana and Noone help to build a story that feels human and real.

Neither its silliness nor its occasionally barbed wit can distract from the fact that it has a lot of heart.

The real difficulty with a story like this is that until the door is opened it's all just speculation and after it's opened then one way another there won't be much left to say.

A melancholic and gothic-inflected tale that is haunting in the best sense of word.

Winans is at his best in the visual realm, and the early sections of his film, in which supernatural entities are seen wordlessly working their nightshifts, prove highly effective examples of narrative economy.

This is a curious film, an important film and, in its oblique way, a very funny film.

Kidman has the sensitivity of a fawn and the tenacity of a dingo.

The characters seem as shallow as the waters through which they paddle.

In the woods, we are firmly placed in the shoes of the children and slowly start to understand the adults through their songs.

Not an essential film by any means, but possibly a welcome distraction from more self-consciously serious fare.

Enthralling, mesmeric, austerely picturesque and approachably profound filmmaking.

Sharp dialogue, delivered with beautiful comic timing, produces some real laugh out loud moments, yet there is a continuous undercurrent of dismay.

The neat trick of Aakeson and Moland is to balance the humour with unexpected moments of poignancy and humanity as fathers from both sides of the criminal tracks share the common ground of parenthood.

This is a much more confident and relaxed film than Lilti's previous, showing more faith in characters and less need for dramatic incident.

Ryan is never less than sincere but fails to penetrate the heart of the matter.

It’s kind of a good film, but it’s kind of an irritating one too.

There are about 10 poofta jokes per episode, which is a shame, as this show is excellently written and so very funny.

The fascination of the film is the atmosphere created and the danger that fills every living minute

All seven episodes had me laughing out loud a couple of times.

Far from caring much if he will ever get his girl, you just want Luis to act his age and grow some balls.

Our modern Prometheus spends most of the film sprinting from one CGI-overlaid battle to the next.

Sometimes funny, sometimes very tense, and ultimately poignant too.

Stick with it, because this turns into a very funny and feelgood film.

It gave me a sum total of four large belly laughs, a couple of outright chuckles and a whole lot of burying my head in my hands in shock/distaste/pain.

Soiled underwear and vomit are given high marks.

The script is clunky and the plot cannot be taken seriously

This film feels fresh and real even to those of us who have been there.

It is to the film's great credit that its politics remain subtle.

This is either an inspired satire on the state of popular cinema, an ego-trip of mammoth proportions or a bucketful of vomit.

The language is street smart, rather than clever chic and the acting inspires.

Jennifer's Body is a sexy, smart mouthed horror that cannot be knocked for ambition or cleverness.

This may be Will Gilbey’s first feature as director, but his background as an editor means he knows how to construct an action sequence, and he delivers one great set piece after another.

Richly atmospheric and often deeply disturbing, Jindabyne is a superb example of well-crafted drama, cinema taking on real issues without ever losing its narrative edge.

The whole film adheres to the director’s credo that simple story-telling does not mean a lack of depth or subtlety, or roughness around the edges.

The film is a heartfelt cry for someone to stop these children being exploited so cruelly, but offers no easy answers.

There's layer upon layer of clever artifice here, yet the result is something that feels fresh and sexy.

This is a consistently interesting film and a good exercise in navigating historical narratives, even if it’s not exactly what its UK title might have viewers expecting.

The title might sound risque but the end product is as safe, cosy and unoriginal as a Now That's What I Call Music Christmas gift.

Despite its winning formula of talent, concept and visual execution, Jumper feels like a slightly anaemic first instalment.

So riddled with logic gaps, dumb character decisions and simple confusion about how we should view the entire conceit, that the actual genetic recreation of dinosaurs from 65 million years ago starts looking believable in comparison.