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Shows considerable promise.

Lola Sepa will always be for me now a real character I have seen, not a fiction.

The lack of any subtlety numbs the audience.

"We played a rough game, and we lost"

By simplifying the shapes and the colour palette, textures such as fog and steam have a tactile feel, while specific items, such as a treasured pair of earrings, are lent extra weight.

An assured sophomore effort.

The plot quickly runs out of narrative drive, preferring to deluge the senses with symbolic and surrealistic images.

It looks as depressing as it feels.

Lovewrecked is a simple, unambitious and largely predictable romantic comedy, but it tells its story well.

An enjoyable and whimsical romance

Rom coms are contagious. They make you feel nauseous and then you're sick

Despite Nichols’s softly-softly approach, the film packs a powerful punch, constantly reminding us of just how recent these historical injustices are.

The splendour of the artwork is not matched by the tale being told, which is of the paint-by-numbers variety.

A good, solid British comedy.

There is no dull speaker, and director Simon Ennis deftly illustrates the subjects with well-chosen archive footage.

One of the best British films of the year.

Those anarchic avians, the penguins, steal every scene they are in making them, to my way of thinking, the best additions to animated film since that coyote fancied roadrunner for dinner.

An exercise in stamina and perseverance.

It looks privileged and innocent, without the benefit of charm.

The pleasantly surprising performance of Schwarzenegger grounds the film with an emotional heft.

Described in this film as the "patron saint of independent filmmakers" and with his work marked by ambition and a desire to push boundaries, it's a shame that this documentary about Orson Welles by Chuck Workman is, well, so workman-like.

Her mix of animation, collage, and actual footage from the various periods covered suits her subject to perfection.

A light-hearted caper that makes for undemanding viewing.

Richardson overacts outrageously and Bob Hoskins, as the hotel's butler-in-chief, is embarrassingly obsequious.

The off-kilter predicaments at times feel like increasingly disconnected sketches and the narrative, for the most part, just wanders along as wide-eyed and disorientated as Alice herself.

Logan's writing fails to match Pacino's restraint, while Green's direction seems - like his central character - to be filled with a longing for more, yet being held back from going there.

Car chases and retro dialogue clog up the machinery

A powerhouse performance by Christopher Plummer.

Diffring is strong in the lead, showing a side to his talents that he would rarely have the chance to use again.

Potter manages to imbue Suzie's story with a feeling of anticipation, as if her life is fresh and innocent.

The Man Who Yngve carries a certain poignancy that might have otherwise fallen through the cracks without the novelistic script or the patient pace that the director brings to it.

The Man With The Golden Gun is deeply uneven and unsure of itself, but features enough impressive work to remind the viewer why the secret agent series is worth the effort.

The sense of period and the deprivations of the time are authentically evoked without ramping up the emotional charge.

Weber's performance is the glue that binds this movie together.

The feel of this film is sumptuous - convincingly recreated mid-century sets, an evocative soundtrack, gorgeous gowns for the women and smart suits for the guys.

There is the air of a dysfunctional family agreeing to get together for Auntie Sheila’s wedding.

The directors and writers aren't afraid to experiment with the conventions of story-telling.

With its sombre mood and sombre palette, this could easily have been a depressing film to watch, but it's enlivened by charismatic performances.

Note for the inevitable sequel: more dragony creatures, sub-world paradox, less John Woo imitation.

The most enjoyable aspects of Maya Dardel lie away from its pseudy centre.

The plot is bonkers, but that's what you expect from this kind of thing

Gibney assembles interview subjects who offer a fascinating insight into how the Vatican functions behind its large exterior walls.

Watchable and competent, if ultimately unsatisfying, actioner.

The Medallion has five scriptwriters. Surely one of them might have noticed a gaping hole where the story should have been.

The film is patchy. The funny parts are inspired. Others... fall flat.

The subtlety of Guest's humour feels too soft.

This is a film that defies logic.

Finds humour in pushing the envelope of reality.

The production's lavish attention to detail in its recreation of the poverty and luxury of the time shows up crisply on this DVD, which is a visual feast.