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Russell Crowe carries the can and he does so with honour and the can becomes a trophy, richly deserved.

There's plenty in Bee Movie for people of all ages.

A refreshingly intelligent entry in the romance canon that also takes a wide ranging look at human relationships more generally.

Not only does she get the tone of Ball right, Kidman also captures the comedy star's forthright energy, an essential fearlessness and truthfulness about herself that Sorkin also evidently admires.

This is the fascinating tale of the rise of two trends – the citizen journalist, and open-source journalism.

Newcomer María Mercedes Coroy is a standout, even within this accomplished cast.

Cummings and McCabe want to have it all - and go a fairly long way towards getting it.

The only flair exhibited in Be Cool belongs to the set designer.

The performances are delicately balanced. Mason insinuates madness without loosening his bow tie and Rush internalises desperation without breaking the crockery.

Christian Bale delivers his best performance for years as fund manager Michael Burry.

The fashions may have come and gone since John Schlesinger commited Keith Waterhouse and Willis Hall's story of a young man torn between his family and the future to film but Billy Liar is still suprisingly light on his feet 50 years down the line.

In the space of 22 minutes, Roger Pratt's cinematography revolutionised the genre.

Black Bear is a tremendously pretentious film but Plaza feels real and keeps it interesting, delivering one of 2020's most impressive performances.

Uniformly brilliant.

Anger is the film's dominant emotion

On the one hand, Rae's feelings of lust are presented as unhealthy and a product of abuse; on the other, the audience is encouraged to lust over her.

As elegant and overblown as ballet itself.

Erick Zonca is less interested in solving the mystery than in exploring the damaged psyches of Visconti and Bellaile.

Basinger can't run. Her acting is lame as well.

The veneer of technical excellence never quite takes your mind off the lack of substance beneath.

Bloody Oranges is condemned to straddle between two half-baked tones.

Light plays with contrast but knows when to step back and simply let the camera rest on Klug’s face.

It's not that it's bad - it's certainly entertaining in places - but genre-aware meta-commentary can all too easily feel like the kind of parody where the 'joke' is in the relief of recognition.

Winter is a competent lead (as well as doing half the other jobs involved in production) and keeps Robin believable despite all the absurdity around her.

Estevez uses Bobby’s words too much, but you can’t blame him, because Kennedy’s compassion and sympathy for the underprivileged shines.

Immersive and intense, the more so because of its roots in a brutal history of gaybashing by Sydney cops.

Traditions include what might be monstrous punishment for moral failings, suspect chronology, a muddy line between those who may and may not deserve it, and a cavalier disregard for common sense.

The boxes are ticked, the buttons pressed. You want happy endings? You got 'em.

The set-pieces are sporadic – but always exciting and kinetic.

Simple in its form, this film is nonetheless engaging throughout, shot through with interesting anecdotes and observations about what was going on behind the scenes.

A hilarious screwball comedy

[Damon] knows the moves, which are implemented with ruthless efficiency.

Levey’s enthusiasm for his subject is infectious.

Though likely a little too whimsical for some, Boys Go To Jupiter seems destined to develop a cult following.

The problem with Breaking In is not that it is silly, but that it isn't quite silly enough.

Its droll charm feels in touch with the slow, go-nowhere vibe of the Welsh countryside setting.

For all its quality, and there's plenty, it doesn't quite feel a thing complete. Its characters are disobedient, but their film is in part disordered.

Timely in its exploration of how we determine what’s real and how easy it is for what seems like legitimate research to become unbalanced and lead to strange places.

By zeroing in on Sofia and Stian and their immediate friend circle, the disaster element remains taut.

This feels, at times, like a kind of anti-cinema. It offers its share of sensation and big emotion, but elevates the ordinary, the joys of a more mundane life.

Art is a kind of freedom, a balance between revolution and recognition.

This is a fantastic chance to see some of the industry's greatest talents at the top of their game.

Unsettles us by exposing our own voyeuristic tendencies and sadomasochistic urges.

It's not awful, it's just not good.

Improvised by an exceptional cast of intelligent actors.

Neville and Gordon wisely embed the verbal duels into the surroundings.

Not just for Troll 2 fans, it comments on the much wider culture surrounding the love of bad movies.

The rich and strange debut of Panos Cosmatos throbs with style and portent, which proves a winning combination even if it is somewhat light in the narrative department.

This film might have worked better if it hadn't taken on quite as much.

Burton does not think he needs to make up his mind about the tone of the movie. It is like a child ordering an ice cream with five kinds of toppings.