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Dogs in Space is less of a film and more of an experience, a poem rather than a conventional story.

A compelling and powerful character piece.

The threadbare plot relies on the performances and writing to underpin this narrative simplicity.

There's no doubting the seriousness of the point Chapiron is trying to make either regarding the way that young criminals can become trapped in a spiral of reoffending, but by pushing all the action into barely believable melodrama, his argument is weaken

The plot should have been doused in irony and the supporting characters led away in chains.

In places it's very well scripted, astute and incisive, but for most UK viewers it simply won't translate.

It is easy enough to appreciate what Don't Worry About Me might have been, but much harder to like what it is.

Bardwell's movie has a natty self-deprecating tone, making it all much more pleasurable.

Despite the limited options available to the young travellers, Kitamura doesn't let the tension slack.

A great deal more than an end-of-shoot wrap party.

The direction is by-the-numbers and heavy-handed.

An unsettling primer on a new type of warfare that is being developed much more quickly than the legal restrictions to control it.

The scriptwriters commit hari-kari, leaving the movie up to its neck in hokum.

Being an individual is a declaration of sorts

There's such a spirit of good humour and bravura low-budget creativity about the whole thing that it's enormously likeable.

It’s a real shame that the director doesn’t show enough interest in his own story or characters to make them anything more than sketches and surfaces.

If you're going to make a film about the man considered to the be the "father of modern cinema" then it had better look good and debut feature director Kyle Rideout and his cinematographer Tony Mirza take this task to heart.

A simple, fast-paced adventure.

This 1920s play by Noel Coward still dances along like a sprightly flapper, defying the passage of the years, thanks to Stephen Elliott’s energetic direction.

. Clever dialogue blazes through weaker elements of the production.

This fable for our times manages to be touching, comedic, and poignant.

Hope is the antidote. Really? They all say that. Can it be true?

Its strong emotional hub keeps you with the film, even as it flirts with tourist board-style promotional material.

The comedy is sharp, the acting excellent, the racial harmony likely to splinter as suddenly as family solidarity.

There are no surprises, no laughs out loud

It explodes the myth that yodelling is an outworn musical tradition, and shows us instead that it has a bright and innovative future.

You don't have to like skiing, or care less about the Olympics, to root the hell for Eddie

Director Andrew Gilbert ladles on the grimness, shooting among weather-worn 1970s concrete blocks under looming grey skies, his characters covered in grime and bruises.

At once overstuffed and oddly slight, it’s a restrained and sincere work.

Witherspoon gives one of those performances that obliterates all before her.

The performances walk up and touch you.

It's likely to be most appealing to people just too young to be officially allowed to see it.

Where the film shines is in the incidental details, the small observations and asides which contribute to setting the tone.

Once or twice the CGI at least has the element of surprise on its side but any time we're asked to look for more than a moment at these digitally created animals, it ruins the realism.

When the rubber meets the road of The End Of Oak Street it doesn't quite grip

All praise to the acting here, as each star deliver characters with depth and meaning, without the encumbrance of lengthy self-exposition.

No one is quite who they seem, which suits the peculiar Californian unease that comes with bad air.

There's some action, excitement, lashings of snot and vomit, and excellent examples of problem-solving through teamwork and self-belief.

Equilibrium is that rarest of cinematic entities, a film which succeeds both as intelligent science fiction and as action drama.

The film has more violent action than a PG-certificate dares admit to and looks suitably legendary.

Antonioni's film is the last of the three here, and is arguably the weakest, which is something of a disappointment because the disciples seem to have overshadowed the leader.

Jeff Kaufman's documentary explores the intersection of the personal, the political and the artistic with a focus on understanding what the playwright always advanced as the most important of human endeavours: communication.

It's the script and the visuals that really sing.

What might have been an edgy little thriller is transformed by Borgen director Jesper W Nielsen into the kind of bitchy workplace drama that will make many viewers grateful for the Covid lockdown.

Morina generates a similar atmosphere to that of the films of Ruben Östlund, prying at the cracks in the male psyche.

Puts the past into a direct dialogue with the present.