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As exciting as it is good-looking.

The noir element, however, is lightened considerably by the film's other big debt - to the antics of Warner Brothers' cartoons past - with the characters frequently finding themselves in enjoyably absurd situations.

The only mystery is why anyone would stay to the end of Poolman.

Lanthimos skillfully transforms this lustful carnival into a coming-of-age drama, emphasising the protagonist's mastery of sexuality as a connotation of her mental evolution.

Cronenberg is most certainly David’s son, and while he’d probably prefers to avoid comparisons, his proclivity towards jarring imagery and shocking material instantly calls to mind his father's work.

Engaging and likeable.

The film is slow and its horror elements become less effective as more of the mystery is resolved, but the characters and the damage they carry feel real.

A film that is so focused on the presence we can’t see it forgets to fully flesh out the lives that we can.

Some films envelope you, others baffle you. The Prestige is a mixture of the two.

From the outset, it has something of the cool visual flair of a Seventies thriller.

The Princess Bride is marvellous entertainment for all ages, and endlessly rewatchable.

The twisting narrative is rendered skilfully so that it is easy to follow even as allegiences and alliances shift, and there is plenty of space to revel in the complexity of the characters.

Guided with a deft touch Bergman is expert at coaxing performances out of his cast.

An anarchic reminder that laughter can be mightier than the sword.

Scenes are set up and played out as if rehearsing for a mud sculpture

If Kruithof’s main ambition with Promises is to make audiences debate and ponder over the relationships between politicians and the public then it is definitely succeeds in its efforts to bring these puzzling and interesting topics to light.

Fennell explores the lasting effects of traumatic events with care, never making light of the situation even amid moments of comedy.

There's a touch of Claude Chabrol's psychological unease at work in this debut from debut director Ben Hecking

Johnny Depp has rarely been better.

Excitement shivers through each scene with quirky, individual peculiarity.

It is difficult to imagine a more original approach to the modern thriller.

Hugely complimented by Smith’s performance and kept in line by an intelligent script from Steve Conrad, don’t be fooled by the trailer, or the poster. There is nothing soft about this.

Captivating, cleverly written and beautifully played by the two leads.

Boasting the sort of edgy, quirky slant usually only maintained in short film, it never compromises it's oddness which is a joy.

An emotional, thrilling, disturbing and beautiful film.

There's enough of the tiara thing going on for the young wannabe ballerina types out there and, for the slightly older, the handsome prince still brings fairytale hopes for all.

One of the most unique shows ever imagined.

It may be an odd choice for a biopic but it is certainly a brave one

A clear, clean picture without tricks

It is difficult to shake the feeling that Yee's latest film is a collection of interesting research data, with a plot stitched together from other, superior films, and tacked on, apparently, as an afterthought.

What a shame that those aiming to cash in on the cute mutt's charms with this low-rent film didn't look for a better script.

The Americans have a way of destroying what could be an interesting, atmospheric story and instead opt to shove in as many SFX and wooden actors as they see fit.

This is not a film made with the expectation of a polished result.

The Ken Loach influence does not mix with the wacky scams and the wacky scams do not appear remotely possible.

The best praise you can heap on Push is that it’s nearly good.

For a film entirely dependent on cliché, The Pyramid does a passable job of building up a sense of dread and making us root for characters who, by genre standards, make a succession of very foolish decisions.

Watching this film is a little like watching a man try to clear away quicksand starting from the centre of the pool.

While Gooding's performance is fine, it's so bound up in artifice that it's hard to really admire.

It's hard to know exactly where the humour is heading, which is refreshing, but when it hits the high notes, it's both quirky and delivered with razor precision.

Such intelligent use of camera and cast lifts Yates out of the pool of promising young directors into the front line of genuine hopefuls.

Lee gives us a flavour of what it might have been like to encounter the man himself.

For an erotic thriller it's pretty short on both thrills and eroticism.

Best part of the film is the extremely stylish opening credits: don't arrive late.

For the first half an hour, the tension bubbles along nicely... but the further into the runtime we ride, the more the cliches stack up.

Beyond simple voyeurism there's really no reason to care.

Atom Egoyan's terrifically paced episodic thriller Remember is hard to forget.

What Aronofsky has done with Selby's script is remarkable. With the use of split screen, hip-hop montage and every trick in the cinematographer's bag, he has forged a work of considerable significance.

Overall, The Resident is a solid step in the right direction for Hammer, being an archetypal genre piece made with care and some style, distinguished by solid acting from reliable leads.

A strangely compelling and, at times, disturbing watch.

The big problem here is that when the story is believable it's dull and when it stops being dull it becomes stupid.