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Never forgets to keep its emphasis on fun

An unusually intimate, exploratory film underscored by dry humour, Sky Peals has an atmosphere that you won’t find anywhere else.

A lurching and uneven film, Sleeping Sickness resembles a dream.

At a time when ghouls have been relegated to cereal packets, Burton resurrects an Edwardian fascination with horror.

The mix of action and satire also turns it into an absorbing hell of a ride.

If you cared, you would weep. But you don't. You scream.

A gripping, exhilarating rollick through a medieval wasteland.

Not a huge amount may happen in terms of plot and Moratto keeps his storyline light on its feet, but the situation and emotions feel real and raw.

A fast, furious and occasionally hilarious angster comedy.

It is formulaic, but it's also bursting with conviction and insight.

Boy meets nun, boy loses nun, boy marries nun, boy and nun go on the run.

Ben Ripley's script is far less interested in the technical aspects of its own apparatus than in the human condition itself – our desperate search for big answers and satisfying closure, and the mortality that both delimits and perhaps ennobles this very

As the shiny roadsters perform death defying stunts to get to the chequered flag, I defy the greenest carphobe not to feel their pulse racing.

Nothing short of an instant cult.

The drawing is good as the story scatters.

The two leads have good chemistry...and it’s really this which drives the film.

Shot in a very plain style under the glare of the California sun, Blinders emphasises Andy's exposure at every turn.

Its various elements gradually fit together to create something which is unsettling in all the right ways, yet somehow sweet at the same time.

Everybody seems to be having fun and their good humour is infectious.

As singular as it is surreal.

A mature approach to the subject which is long overdue.

JJ Abrams rescues Rodenbury's creation from the pop culture scrap heap and produces a very likeable romp.

Where is the magic?

Revenge Of The Sith is a reminder of what made the original trilogy so good; character driven stories, along with a pot-boiling plot keeping things in check.

Featuring an up to scratch all-star cast, it is Close who really shines, with a cracking quirky little performance, again demonstrating her range.

It’s a relationship based on mutual exploitation, Guldbrandsen says, and “it’s complicated.”

Fear does strange things to people, especially teenagers

The investigation has a surreal aspect to it that stretches credulity while the final resolution seems unsatisfactorily far-fetched.

As the film digs into psychological stress, Athale crafts the sharp, unspoken parts of grief into shards that cut at his characters.

Although the story is simple (beyond its merging of two different sets of genre conventions), it's stylishly presented.

The plot is by numbers and has no sense of involvement.

It is, overall, pretty vanilla both in content and presentation.

It is about the counterpointing of the popular with the stuffiness of well respected art, the harsh cold fluorescent light of the Metro station with the more humane darkness of the interconnecting conduits and forgotten spaces.

Just as these characters all sound like they are named by pre-teen kids playing with action figures (apologies to the storied history of DC) the plotting follows suit by treating them just like poseable toys.

Engaging characters, well developed by the young cast, make this a film that's easy to enjoy.

It’s beautifully acted and its gentle pacing allows for the construction of a richly detailed world.

Overall, the film looks fantastic. The special-effects work, which took a year of post-production to complete, wouldn’t look out of place in a movie with ten times the budget.

Remains unbeaten in terms of influence and iconic moments.

More two-dimensional than many of the videogames it borrows from.

Hall makes you feel the constant battle between exhaustion, frustration, and compassion,

If we compared the original to a Mark Rothko canvas - a distillation of raw emotion - this version is more akin to a colossal, baffling kinetic sculpture, one that seems to exist in more dimensions than it ought to.

It's good to see a teen movie that doesn't order American pie for a gang of no-brains in a white trash diner.

A highly mannered approach, a staccato script and deliberate emotional distance mean that the drama never really comes alive, but the whole thing looks and sounds divine.

While in plotting terms, the film pretty much stays in the lane you'd expect, it has plenty of heart.

The film is held together less by the tale than by tensions.

An action-packed, critically intelligent thriller...the effect is both breathtaking and harrowing.

Morris has certainly achieved a gloss that Kennedy's previous work lacked but at a cost to the factual content.

Froggatt and Riley... give finely calibrated performances that make you believe not just in the couple's current predicament but in the strength of their bond.

While not all home-runs, the episodes are well worth watching.

t's a slight premise, but it's played for laughs throughout, pastiching not only the TV show, but the buddy genre and the Seventies in general.