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Björn Runge is in no hurry to reveal his characters' faults or their history, letting his camera linger on Close and Pryce, so we can see the thoughts that swim on after the words die away.

It's often the most slender plots that make for the best scripts because they force writers to work harder, but there's no indication of anything resembling work having gone into this.

Young star Paul Kircher puts in an impressively sensitive and emotionally raw peformance.

Wish feels like one granted, a treat from start to finish.

In the spirit of goregush horror flicks, this Wes Craven production is highly creative in disembowelment techniques.

There's little new under the sun, and even less by moonlight.

This is how you destroy people's dignity and make them yours, Scorsese seems to say.

Horror film of the year so far, and likely to be one of the most memorable and celebrated of the coming decade.

Director Charline Bourgeois-Tacquet weaves an intricate life for Gabrielle without making it feel like a melodrama

Sometimes a film is more, much more, than the sum of its parts.

The central characters, so often a weak point in superhero movies, are well developed with solid performances all round. Gadot, meanwhile, goes above and beyond.

Overall, the story is a familiar one, with a predictably, one could even say, cliched tragic sweep - a well-trodden pioneer trail that while watchable for the fine performances, still feels overly stuck in a rut.

There are moments when things come together and the fierce weather generates a powerful mood.

This is, in places, a deeply disturbing film... yet the touching scenes, when they come, have a surprisingly emotional depth.

There is the same sense of warmth and humour that made the film so endearing.

There are gory deaths. There’s genuinely funny pastiche. There’s also an attempt at affecting character drama.

There's some gory comedy here that will appeal to a certain sort of genre fan, including one of the best uses for intestines since Machete.

All the abusive repartee between staff and customers should gladden the hearts of minimum wage workers everywhere.

If you've read the paper during the last ten years, you won't get much new insight here.

The Zero Theorem is a messy mélange of broad pratfalls, challenged idealism, dark satire, and expansive, indeed cosmic allegory - but it also .cannot escape being seen as a kind of Brazil vers. 2.0.

It's a well constructed, well paced, well made film, but it's poised and polished and professional where one might hope for something a bit more ramshackle, a mite more rebellious.

Being low budget and British is no excuse for dire unoriginality.

Arthur de Pins, adapting his graphic novel, alongside co-director Alexis Ducord gets caught between the adult ideas of protest and class war, and the more kid-friendly adventures.

There are no shortcuts in this film, no conventions and nothing careless.

The humour exaggerates the worst excesses of Saturday Night Live.