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The film feels real, and of the moment.

Lacking any sort of critical distance or self-reflection, it’s merely a wafer-thin portrait of an artist suffering from… something.

Aisling Walsh's film is a cry from the wilderness, which in the past would have fallen on deaf ears.

Truth be told, I wept buckets.

Some films need to be watched alone. This is one of them.

Though films about psychic investigations are fairly common, The Sound manages to find a path of its own.

Maggie's interrogation of Peter is a fascinating back and forth - leveraging sexual attraction with effective psychological showmanship.

The cool, detached, yet paranoid tone is impressively held, both through visual design and music, until around halfway through.

The ultimate catch is that Spectre is no longer the villainous outsider. Their badness is corporate: its core, global surveillance and information technology.

It becomes quite grim and, although by no means perfect, uses the genre expectations to con the audience as well.

A film about the importance of asking for unreasonable things from other people.

While satirically entertaining in places it has too many threads competing for attention and ultimately runs out of steam.

Tavernier creates a picture without a frame.

An accomplished first feature for director Gloria Mercer.

Zerr’s documentary has its own rough edges and suits the spirit of Rocky Horror.

Delicately performed and quietly magical, this film is something special.

David and Craig Zellner aren’t just here to make us laugh - although they certainly achieve that - they’re also in the business of building a detailed and delicate world around a year in the life of their creatures that proves surprisingly poignant.

This playful approach is an effective one, making the film very watchable and enabling Mackay to direct viewers’ sympathies with ease.

Saving Zoe is, ultimately, a lightweight film about a serious subject.

Wiseman Jr plays most of it very straight, without sentiment, easing viewers into a place where they can take all this for granted.

There’s more going on than just prejudice, as the well-worn themes of friendship and loyalty are given air to breathe.

The ladle of light-hearted farce is never far enough from the plot.

For all the postmodern presentation, every emotion here ultimately rings true, and there are enough great ideas, oddball characters, amiable performances and big laughs to ensure that this remains a cult favourite.

The comedy is inspired at times, but what makes Scrubs stand out as the best thing going are the players.

What makes this hospital comedy unique is its risky business.

The film's formula is as neat as a well-pressed suit.

Once the motor of the film is running, though, it settles to a more welcome pace, with Smolensky slowly allowing a gentle soulfulness to surface beneath Michael's rough-cut exterior.

Each set-piece revelation is sprung like a physical blow to the solar plexus.

None of it is remotely believable.

In general, the action feels either overly restrained or pushed too far, with Adler rarely finding the sweet spot in between.

The feel is reminiscent of Sixties and Seventies Children’s Film Foundation output - though a lot more polished.

Captivatingly creative but over-fussy in terms of story, this is still an entertaining and accomplished debut.

It’s well handled throughout and effectively shows off Pierro’s talent for creating tension.

What marks Trier out is his ability to take on intellectual ideas like this but make them play out in ways that don’t feel forced or overly constructed.

This is very much a film for musicians, and the more familiar you are with the art of composition, the more you’ll get out of it.

The film ceases to be history or documentary and starts to topple into the realms of propaganda.

This is no run-of-the-mill shoot-'em-up. It has a definite signature and a real blackness to it.

Danny Boyle directs with the right balance of tension and wit, never forgetting that violence begets violence as one thing leads to another.

Those who struggle with eating disorders themselves will find it easy to relate to but in places, very hard to watch.

Despite Lewis' reputation, what we see here is really very tame - often wonderfully so.

Not a film about lyrics. Not a documentary about these extraordinary long careers. Just a big, brilliant concert.

Stunningly shot, with what is probably the most striking cinematography of the year.

In the end, The Show bites off more than it can chew, but it makes a good effort and there’s plenty there to please the fans.

An instant classic and far too good for children.

Rarely have the faultlines between comedy and horror been exposed with greater precision.

Despite his slender years, DiFalco is an experienced actor and it would have been nice to see him given the chance to do more wit this material.

Russell impressively couples gambling strategies with self-help mantras to expose the machinations of searching minds who don't know how to flee the ugly banal lives of most common betrayals and economic anxieties.

Illuminating their faces, Davis intentionally brings out wrinkles and rough skin – the features that speak to who they are, to their unique life experiences.

The style is very much fly on the wall. Except, I could not imagine any documentary maker hanging around for hours and hours of this stuff. Let alone any self-respecting fly.

The film accurately portrays a generation in the crossfire which hasn’t been seen before.