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Moments of reflection are balanced by playful scenes structured around the clichés of horror filmmaking.

The charm levels are high, the reality levels too low to register.

All the boxes have been ticked, but with a pen all too quickly running dry.

Happily, writer/director Boaz Yakin offers some surprisingly stylish camera work.

An unashamedly trashy treat.

There's nothing badly wrong with it but there's not much standing in its favour, either.

The film has all the bullet points for audience approval and yet somehow falls short

This is a film that is worth looking closely at, as everything shows signs of great care and consideration, and Sanctuary is certainly worthy of it.

The greatest horror comes from moments of intended 'deep' emotion, which ring as hollow as the cave system in which they are set.

Cushing, increasingly cadaverous with age, presents us with a character who may well be beginning to wonder about his own mortality.

When the central theme is incest and the running gag a legless black man whose artificial limbs keep falling off, bad taste turns rancid.

Patrick Troughton turns in a splendidly OTT performance as the titular count's loony servant.

The secret, by the way, is that there is nothing to say about this film, except 'Don't go'.

The movies that David Zucker and Co are choosing to lampoon are already confined to the trash bin of history, thus rendering the film mostly purposeless.

So nasty are parts of Scar, the latest entry to the ever-more inexplicable torture film-canon, that you wouldn't want to view it in any dimensions, let alone three of them.

One of the grimmest 'horror' films of the year.

For a short while I thought this might be an entertainingly bad film. It isn't.

It is a feather in ITV's cap that it was prepared to invest in such a fascinating and thought-provoking script, while managing to keep cliche under wraps.

Rivette's dedication to the reality of the moment, always from Sylvie's viewpoint, is uncompromising.

Unashamedly low budget, it focuses on good acting in claustrophobically tight sets.

Though first impressions may hint towards a simple matinee romance, Senso is subversive in the extreme.

Omar Rodriguez-Lopez gives us a sensational taste of his talents in front of and behind the camera.

The performances of Kora Karvouni as Anna and Maria Skoula as Sophia are captivating.

McDonagh just about makes this ultra violent meta train ride all hang together.

There is so much going on that, through mad exuberance alone, Sex And Fury quickly achieves critical mass, bubbling over into something far more than just the sleazy sum of its parts.

By being successfully chic and delightfully superficial, the characters distract us from the wedding bells goal and the way their lives really stereotype them.

The moral is supposed to be that, underneath the cultural trappings, women are women all over the world. Sadly, what the film actually says is that, underneath the cultural trappings, women all over the world are just as shallow, vapid, superficial, and v

The insular world of inner-city gangs is evoked quite successfully with the unshakable sense that these young people are trapped in vicious circles of perpetuating ignorance.

A shark could make a better film than this even if it were first required to manufacture its own equipment.

Smart enough in the right places and dumb enough in others to be a worthwhile waste of your time.

Has a rare, haunting quality.

She, A Chinese is slow to build yet powerful throughout, its pumping Chinese pop music soundtrack hinting at the passion that simmers inside mild-faced Mei.

An extremely black comedy with a painfully alienating central premise.

A monumental bore.

The Singer is a healthy reminder of the unequivocal natural force that Depardieu can summon when he's in focus and on target.

You don't venture into this steaming snake pit without balls of steel

SK1 at its best, is an examination of doubt.

The film builds a historical and literary niche for itself which could be seen as pretentious in the extreme but which is carried by the excellent cast.

The film is repetitive in the way it tackles its subject, but the people themselves make up for that.

Slice And Dice is a solid little film that will thrill fans of a neglected genre.

Too much smoke and not enough mirrors.

Treat it as a live action cartoon, with dramatic pretensions, and you will not be disappointed.

The Smuggler blends scatological humour, brutal violence and a few scenes that will put you right off your popcorn into something that is actually rather good.

Viewers who are still awake after the first 20 minutes will be bludgeoned into unconsiousness by the the film's heavy-handed morals of unconditional love and family transcending blood relationships.

Oliver Stone takes the story and gives it slick mainstream polish, bringing the issue home in a way that is understandable and urgent, even if his hero ends up seeming almost too good to be true.

Whilst purists may revolt, the resulting fable is quite charming in its own right.

There is a menacing undercurrent.

Don't expect anyone to smile in this humorous and provoking film.