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More than just a portrait of one woman's life or a remembrance of that awful time, Big Sonia is a film about history, how we carry it with us and why it matters.

Haunting, intriguing, compelling.

The breaking of genre boundaries is surreal but one of many enjoyable elements of Black.

One for fans of unconventional love stories and those who seek out something other than the classic Hollywood ending.

An intriguingly idiosyncratic debut.

You could make a film based on the achievement of almost anyone at the Invictus Games and you would be making Vinny's story

A fun and enjoyable kids' romp which will certainly keep both youngsters and their parents amused.

Yes, the acting is suspect, the script hit and miss and the whole endeavor undertaken on a wing and a prayer, but Bloodstorm never outstayed its welcome.

It is notable that for every slasher trope there also seems to be a giallo one.

Feeling like watered-down Curtis, the jokes frequently fall flat and you keep waiting for the big laughs that we know he can deliver.

Less the free-form, jazzy ensemble satire on the art world it aspires to be than an over-elaborate and under-funny undertaking by high quality actors who should know better.

Imagination breaches the boundaries of wonder

An air of brooding menace suffuses the film throughout.

The script is hilarious and the CGI's lip-and-eye treatment positively perfect

An affecting blend of warm comedy and high pathos, The Boys Are Back brings an unusual all-male perspective to its otherwise familiar themes of domesticity, death and dysfunction.

A Boy Called Po features impressive performances from its two leads, who have great chemistry and effectively capture a complex relationship.

Has an energetic pop video feel.

Ricky is a strong willed and confident character who defies every familiar victim stereotype.

Cheerfully lurid throughout, self aware but never tediously ironic.

Congratulations are in order to Shattered Glass helmer Billy Ray for playing it straight and subtle, resisting the temptation to jazz up the action quota and indulge in Hollywood speechifying.

A sensitive and beautifully acted tale.

With a title like this you know pretty much what to expect.

Quinn cleverly mixes the natural playfulness of the animal with more sinister inclination.

O’Nan the writer and director consistently pulls an unexpected development or a priceless piece of dialogue from up his sleeve, ensuring you never lose interest in the tangled lives of a flawed but basically good-hearted main trio.

Bourbon Street and its surroundings have rarely seemed so authentically seedy.

While much of the comedy might have garnered a few laughs as part of a Two Ronnies' skit back in the Seventies, here it feels dated, predictable and bland.

Pulls no punches as it takes viewers on a terrifying ride through once-familiar territory turned utterly alien.

Buy It Now is rare in being a film about teenagers which portrays them realistically and manages to do so without being offensive to a young audience.

The trouble is you don't care

Although displaying much of the barbed wit of his first film, this is a more measured and moving work.

This is a film likely to divide viewers.

It's not that there's no value to Balaker's argument, rather that the elision of alternative viewpoints and seriously challenging material undermines it and makes it look naive.

Nick McAnulty and Brian Allan Stewart combine a disturbing story with sharply observed satire in a film that's as much about relationships as it is about murder.

Capturing Space simply doesn't do what its title suggests.

Cargo gets scuppered by its serpentine story, which is more confusing than compelling.

This is bravura filmmaking.

It has a kick in its heel and a nice surprise at the end

An intelligent film that communicates complex legal issues effectively without becoming boring, The Case Against 8 has a lot to recommend it.

If you're going to build a story around a conversion, you really need to be able to relate to your character on both sides of that process.

Cabin In The Woods is fast-paced and, if you are in the mood, reasonably entertaining.

Nagy and her screenwriters’ disciplined refusal to pursue grandiose storylines results in a well-earned sense of community.

McCall draws on Cardiff's life-long love of painting to adopt a similarly impressionistic style, brushing broad sweeps of anecdote and recollection about the cameraman on to his canvas to create a complex and emotionally engaging picture.

While Camping isn't breaking any new ground, it ploughs the old furrows with finesse.