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A film that makes sceptics of us all, shaking us from brainwashed passivity into a state of awareness that makes resistance possible.

The film’s flaws come primarily in the weak villain and some irritating editing and plotting choices.

The baddie's been beefed up, the plot's been pared down, but the emotional core which really sold the first film—the magnificent character interaction—remains unscathed.

The Force Awakens manages to stop one thinking about how disbelief is suspended and instead carry one along.

It's that old magic again.

He may provide too much shock detail for some audiences but the director proves himself a master story-teller.

This is about the life-changing little things that happen to us all, which makes it all the more affecting.

Blake - who also wrote the script - has ideas with potential but he needs to get a firmer grip on his genre and pacing in future projects.

Burke's performance would be riveting even on an empty sound stage.

The pitting of Kingsley against Caine in this context is delightful.

Kidman hasn't turned in a performance like this for some years.

There is brave cinema and safe cinema. Strap is brave cinema.

Sadly this doesn’t live up to this promise, although it remains a reasonably enjoyable, if somewhat predictable, action thriller.

Some of the dialogue could be more polished, but the brutal honesty... makes up for it.

The acting is strong and the plot tight.

Bill Murray is acceptably crusty, but hardly huggable

Baldwin lifts the scenes he is in with his brand of easy charm an antidote to occasional outbreaks of cheese in the script.

Richards' film may be an ultra-low budget affair, but it is also a punchy thriller.

At its best this film is a gripping look at what drives people to brave the heights, although it would have benefited from taking a more linear approach to its undoubtedly well-researched material.

What is most astonishing about Sunshine Superman is how genuinely happy everybody looks.

I honestly wish I'd written this movie, and I suspect a handful of people my age feel the same way.

Superhero Movie follows almost exactly in the footsteps of its forebears, the Scary Movie films; this time the parody is aimed at the bloated belly of comic book hero movies.

Without the shackles of an origin story, Superman II soars into action straight away.

Good work is undone by a zany tone.

The continuity is shaky (what do you expect?), but the new material is more adult, less camp and with a devotion to character and logic that Lester’s just didn’t have.

Though Superman IV carries the sub-moniker of ‘The Quest For Peace’, it’s more accurate to describe it as ‘The Death Of A Series’.

This offbeat comedy is a genuine step forward in the Scrooge-U-Like repro market.

Has none of the class of Mega Python Vs Gatoroid.

There is no story that goes deeper than a soundbite.

Sweet Virginia is a simple story told very, very well.

Despite a solid cast and good use of location, we really have been here many times before, regardless of how many twists Lahiff compounds to get us there.

Mainstream audiences may hate and critics may debate, but Synecdoche is a work of unmitigated, undisciplined genius.

Unsurprisingly, it is at its best in the action scenes and less effective elsewhere.

A loving and gently funny take on one of the defining moments of America’s counter-culture era.

Its lean condition means we can see the bones but its straightforwardness and lack of pretension give it a certain charm.

With a pitch-perfect main cast, snappy dialogue, and a swift pace, it may not be Frears' best but it makes few false moves either.

On the strength of this film, writer/director Robert Schwentke is a talent to watch.

As the teacher, Lindsay Burdge gives a stunning performance.

If all you want is a whimsical story about relationships then you'll probably enjoy this without looking any deeper.

An effective and well-made entertainment which slowly gets its hooks into you.

The inventiveness sweetens up his message so that it is likely to hold the interest of teenagers as well as adults, giving it the potential to be a great educational tool.

Tobias Moretti and Jeanette Hain play the Count & Countess Közsnöm with arch reverence to vampire movies of old.

The film is at its best in its exploration of gender fluidity and the importance of being at ease with yourself.

Obsessive/misguided love is a subject ripe for exploration and although he makes a fair stab at it, Matthias Glasner’s film lacks the structural stability to fully do it justice.

The movie becomes bogged down.

Thor: The Dark World is nimble of step in the comedy department but as heavy as a hammer to the chest when it comes to exposition.

This is far more than a lighthearted romp.

Rather than churn out a fourth grade cheapo product, the creative crew have sold no one short

The Turtles movie that I'd have loved as a boy.

One feels one is exploring a potentially interesting scenario in the company of the wrong group of people.