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For much of its runtime, Outcast may be the best British horror film since The Descent.

The Pacifier is definitely one for the kids. Under 12s should relish bits and pieces of it, but not much more.

Both Catherine Frot and Deborah Francois deliver excellent performances... the tension between the two visibly crackles.

Bleak, depressing, yet essential, the Paradise Lost documentaries are more disturbing than any horror film, because they deal with realities.

A fun, lighthearted and above all confident film that lovers of the rom-com are likely to adore.

Parting Shot becomes a fascinating meditative study for anyone that has ever felt themselves in the grip of uncontrollable passion.

The concept of being trapped in solitary confinement for the rest of your natural is a goose bump reversal experience

Despite the considerable talents of the two leads it all ends up feeling rather flat.

This film is fast and funky and deadly serious, and massively flawed, yet just about succeeds in its difficult central premise.

This is a fun film, genuinely exciting, twisty like the mountain trails, with uncertain footing throughout.

Despite the frequently foolish script and stereotypical characters (please note the appalling gay stereotype waiter), this is as pleasing a confection.

Irony and danger is hinted at, only to be reeled in to the safer backwaters of Hollywood banality.

The highest accolade one could bestow on Negrin’s production is that it is a worthy tribute to this incredible story.

Jarmusch's script shows a sophistication beyond the budding filmmaker's years.

The plot meanders and doesn’t stand up well to scrutiny.

The answers are hinted at rather than announced and the dialogue is sparse without being empty.

Pincus treads that tricky terrain of having a protagonist who is deeply sceptical of the self-serious outsiders he meets while at the same time allowing for the possibility that it is he who may be in the wrong.

Predictably, as the ending arrives we learn absolutely nothing or witness anything different that we didn't see coming halfway through.

Roger Corman may not be directing any more but his influence as producer can be felt throughout this cheap and cheerful creature feature.

Piranha 3DD is a floating turd of a film that deserves to sink without trace.

Boll should be defended, even admired, for his willingness to swim against the political tide - but that alone, unfortunately, is not enough to make Postal worth watching.

Grandfather’s hands are prominent, the size of her whole forearm. Clément observes their use in small but potent ways.

Jacir's film might look back to the 1930s but it's a film that is in conversation with the present-day.

If you have a particular passion for the Gothic, you may find this film appealing despite its flaws.

The way in which Megan and Preacher are interacting feels creepy. It is intended that way.

If there's a wish for more in Palo Alto, it's largely because what is here works so well.

Despite offering a handful of touching moments, this quirky indie effort feels a bit messy and never properly finds it's rhythm.

The violence is backed up with solitary confinement and mental deprivation

Nothing more than a moderately effective string of noise-enhanced jolts.

Overall the characters fail to transcend their archetypes, despite Kodi Smit-McPhee anchoring the film with real emotion.

Flair and verve are what it's all about, a fierce confidence used to defy white power structures since the original days of putting on the Ritz.

The series is largely shot from a static perspective using framing and composition to imply movement, much in the same way as would be done in a comic or graphic novel.

The plot is cobbled together from second-hand ideas and given as much panache as Hush Puppies on a catwalk.

Taut and visceral filmmaking at its most intense.

Douglas imposes his presence and manages to walk the tightrope between edgy and intense without chewing up the scenery.

The film is simplistic to the point of absurdity.

Waters' targets are tame and easy to hit.

As a modern fairy tale Penelope has a gentle touch, and while flat in places it's definitely more silk purse than sow's ear.

The pace accelerates through 15 stages of excitement without stopping to refuel

Hollywood loves this kind of figure and occasionally this film falls into the familiar trap of overplaying his heroics, but Walken himself is solid throughout.

There is no room for quirky individualism, as writer Bill Wittliff shovels on the sentimentality. Even the dialogue is highlighted with italics.

Perpetrator heralds the joyous rising up of a regiment of monstrous women.

It would be difficult to find anything but goodness in Copperfield's personal history and a delight in the way things turn and turn again.

This is a film that seems somehow subtly different every time you watch it, full of tantalising possibilities.

Without a doubt, Pesce is one of the most exciting young directors to emerge in recent years.

Films as brave and intelligent as this are a rare commodity and should not be missed.

Violence is always lurking at the edge of the narrative.

Blyth and Tovey have chemistry to burn and Emmi generates pressure cooker tension as the past and many faces of the present prove to be just a synapse away in the kaleidoscope of Lucas’ mind.

Everything has been meticulously researched from the garish costumes and outlandish make-up to the mechanics of the business.

Scott is out to blast fresh air through the fusty drawing rooms of costume drama.