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Angels Crest has a number of peripheral problems, mostly to do with the sheer number of under-developed characters and subplots.

Ulrich Seidl’s unique, stylised documentary depicts in trademark, single-take set-ups a number of Viennese residents and their relationships to their beloved pets.

Laugh out loud funny and heartbreaking without resorting to neat Hollywood set-ups or resolutions.

The film has soul rather than unity of purpose.

A quest for the human beyond (or at least within) the machine.

A solid, grounded piece of work that approaches its subject with a maturity remarkable for a first feature from a young director.

A smart, trippy treat.

The complexity of Egoyan's construction enlightens, rather than confuses. How the pieces fit together is a sleight of cinema.

Hogg has been praised for her bravery in making films about the contemporary middle class and she has certainly succeeded again here, sedately unfolding a web of universal issues with a deceptive simplicity.

Affleck knows how to keep a tight grip on a story, gets better at ratcheting tension with every film, and displays a fearlessness when it comes to mixing genre.

Never could the warning, 'Stay away if you're easily offended,' be more appropriate.

More sedate than scintillating, it is nevertheless impressively shot by newcomer Daniel Vilar - a name to look out for - and beautifully acted.

Feels like a not-terribly-good ITV drama.

The effects do not enhance the comedy, rather override it, exposing a dearth of imagination.

This short film's theme - of the errant quest for dignity and labour - represents a timeless European tale.

Flat from the start

Brilliantly-written, expertly-observed and just as well acted.

Extremely well done.

If you're looking for a thought-provoking horror film to watch with friends, you could certainly do a lot worse.

Mesmerising, heart-wrenching, and a remarkably intimate vision.

One of the biggest downfalls of Baby is the quality of the acting.

The path this film follows is similar to pregnancy itself - excitement, hope, increasing discomfort, problems with balance, an awkward self image, conflicting emotions as the conclusion draws near and then, finally, relief that it's all over.

Each of the films in all their glory.

The jokes dry up, because Rock is a one-gag guy

Apart from its stand against censorship and the way it deals with rape, the film is lacking in many respects.

A quietly enjoyable film with a sense of the old-fashioned about it and a few bursts of humour to cut through the air of melancholy and suspicion.

The narrow focus, combined with Stokman’s easy-going, informal narration, mean that the documentary is neither gripping nor even particularly informative.

There are some nice set pieces here and there but, like the air on Terra, everything feels stodgier than normal.

Everything feels alive and the production design by Judy Becker is impeccable.

There's some fun to be had among the commotion of the outbreak, but it all seems too stretched to really bite deep as either satire or schlock.

Watching, you will believe that you can touch, smell, almost taste her wonderful creations.

Headland revels in the comedy of discomfort and keeps the one-liners coming, while still sticking to - and sticking it to - a romance plotline.

One of the most deservedly popular movies in cinema history.

All the humour, excitement and pleasure of the first film are intact.

The western genre, with its classic cliches, tends to bog down the story.

Creates a unique and eerily grounded suspense that transcends genre.

The whole thing has the energy and bravado of early Eighties slasher films, when the rules of the genre were still being written.

A thriller that, although it could have done with judicious editing at the beginning and end, nonetheless delivers laughs, shocks and, most importantly, that sense of satisfaction that only comes when puzzle pieces come together with a resounding click

The look is as unforgettable as the power that drives your emotional response.

It's clear that fun was had making Balls of Fury, and, if you're willing to accept its central conceit, it's undoubtedly fun to watch.

The connection that forms between them feels more real because it’s so unlikely. Duplass, co-writing with Strassner, has the skill to pull it off, and both lead actors are up to the task.

The sort of film that any aspiring director of schlocky shock should be proud of having as their debut.

Nolan has gone beyond DC Comics into a psychological no-man's land where lessons can be learned.

This is a short film about Catwoman weighed down by a lot of vague nonsense you'll end up skipping through.

The performances are a tribute to a screenplay that avoids the worst indulgences of the urban jungle.

You cannot have too much Mister Rogers, the film shows.