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Hooper is not a pastiche merchant, at least not here, which adds to the genuine sense of panic.

Sen does not flinch from showing a community plagued by misguided models of masculinity, but offsets this hopelessness with a qualified optimism for a different kind of cultural continuity.

It hurts to watch

The story packs an ethereal twist.

There is a luminosity to Dalio's imagery, a beautiful use of colour, that encourages us to engage with these people and feel their joy as much as their pain.

Lacking both gravitas and focus.

Maitland keeps his balance superbly and ensures that this telling has the force it needs.

Skins star Jack O'Connell burns up the screen as an initially reprehensible chav terror, all wide-boy grimaces and in-your-face intensity, his gradual evolution into honorable pack-leader etched with care and nuance where it could have been clumsy and cli

A Town Called Panic is a truly postmodern concoction, where, along with the village's properties, narrative norms are deconstructed brick by brick, as free associations and visual gags come thick and fast, offering a surreal jaunt through toy town.

The sort of film that is meant to make you believe in the inherent goodness of mankind.

Too American to really succeed as a giallo, yet too European and personal to work as an American slasher in the Friday the 13th mould, Trauma is neither one thing nor the other.

At first captivating, the endless litany of inconsequential detail and forced humour soon begins to wear.

Miklos is superb in the role of Anisio, striking a balance between menace and swagger, which gives him a comedic air.

Trick features something previously thought impossible: a delightful performance from Tori Spelling.

With their Day-Glo colours, singing and attitude to hugging, this is probably one of the few animations that will simultaneously appeal to the very young, any parents nostalgic for rave culture and grandparents who tuned in and dropped out.

Another victim of the style over substance genre.

Jonathan Demme manages to mangle the comedy/romance/thriller genre, because this is not his thing.

It’s a film to be watched late at night, sunken into the sofa with one eye open. And then entirely forgotten about come the morning.

As Jackson Browne’s My Opening Farewell delivers a lyric about standing before a window, we get a shot of the boy standing before a window. Did Clooney make this in his sleep?

Unfolding as a cunningly reflexive critique of the Italian giallo, as well as Dario Argento’s own distinct body of work, Tenebrae directly addresses the accusations of misogyny often hurled at the director.

A breathless, relentless thrill-ride that doesn't let up until the shocking, refreshingly downbeat climax.

Terminator Salvation looks more towards its potential sequels than towards itself.

Made with consummate care, the film stands out for its exquisite cinematography.

The fact that this film still gets people talking, and arguing, nearly 20 years on, is surely an argument for its quality and relevance.

In terms of mood, directors Britt Poulton and Dan Madison Savage do a lot with a little, allowing the plot to coil round the characters.

The film has a great beginning, an okay middle and a stupid ending.

Biting satire, a sharp script and wonderful performances make it a must-see.

Van Heijningen Jr tragically fails to exploit our fear of the unknown and the potential tension of the paranoia-stoking premise.

What makes it stand out from its many followers is its deep affection for its subject.

The ideas are so shamelessly out-there and imaginatively employed that it's hard not to get caught up in it all.

A merchandising rather than mythologising opportunity..

This really is the funniest, campest mainstream superhero film I can remember since the Adam West incarnation of Batman.

The characters in the film are very much 2D.

There’s a careful balance between real thrills and the inescapable comedy of these situations. This is managed by way of an ineffable sense of cool.

For all his character's vacillations, this is a masterclass in filmmaking control.

David Yates (director) and Joe Fisher (writer) are rookies in the movie biz. They conduct themselves admirably.

The performances here are spot on, but it’s the rich detail that really brings it to life.

As a comedy of manners, it is exquisite.

Time To Leave is at times laboured, but it is an intelligent film.

Christian Petaroscia, is an extraordinary talent.

Directed with a light touch by Eivind Landsvik, it’s acutely aware of the fragility of its characters.

This is Freud as we rarely see him, human and approachable and a bit baffled by the idea of having a young fan.

The most infuriating Disney movie ever

A more than creditable effort by director Chris McKay and writer Zach Dean.

After an intriguing start, it runs out of ideas.

The cheesy subtext is obscured by gross-out verbal and visual display, which wears down resistance to the basic message of wholesome optimism that many teenagers would not be keen to admit.

The simple search and rescue plot is more than adequate an adventure in which to indulge the antics of our original toys, and allows space to throw in a few choice newcomers.

Lee is on top form as the wild-eyed, cold-hearted villain, approaching black magic with a steely rationality that almost makes it seem like science.

Brunner clearly loves Norman - art for art's sake! - but fails to communicate how others have come to tolerate him.

This is a film that you will either love and call daring for its visually challenging style or loathe for its pretension.