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Feels like one long trawl through the photo album of somebody else's holiday.

Babylon is disgusting, muddled in intent, absurd in its trajectory and at times baffling in its tonal choices. And yet I would not call a moment of its 189 minutes boring.

In long, slow takes, Sorogoyen lets the tension build, one situation after another seeming as if it might spill over into violence.

A series of pieces that each, in its own right, has some merit, but which together never quite gels.

Cristián Jiménez likes quirkiness and his enthusiasm for it, evidenced in his first film Optical Illusions and again here, goes a good way to convincing you to take the ride.

Imagination breaches the boundaries of wonder

What would have made an entertaining, if experimental, 20-minute short film has here been extended beyond sanity.

The film walks a difficult line between celebrating the genre and mocking it for, essentially, being cash-strapped.

Lucrecia Martel's debut as writer/director captures the many layered character of the Argentinian upper-class so perfectly that explanatory scenes would appear bourgeois in their desire to tidy the place up a bit.

There are simply not enough surprises to be had and as the film progresses one gets a sense that a series of boxes are being ticked.

Where the film really scores is with its brave exploration of the phenomenon of terrorism.

The themes of friendship and teamwork are targeted at young audiences but it zips along at pace - a reminder that you don't need super-complex plotting, so long as you deliver on laughs.

It's DoA meets The Wizard Of Oz with Matt Damon as an irradiated Dorothy.

It's difficult to understand how anybody could put themselves through this for eight or more hours a day over a six month period. There's only really one answer: love.

Tears will be shed as you watch.

Somewhere between the slightly dull first 40 minutes, and the head-smackingly stupid final reel, it's briefly a heady, sensual and amoral guilty pleasure.

It is the central love story - beautifully realised both in terms of camerawork and acting - that underpins all the rest of the directorial flourishes.

Portman captures something so rare that it defies description.

Gloria has the instincts of an eagle and the courage to fly.

A powerful condemnation of endemic and structural racism, a sweet love story and, at a technical level, a beautifully produced film, If Beale Street Could Talk has much to recommend it.

In less adept hands this could have become a clash of content but Václav keeps all his elements in balance, managing to celebrate the beauty of opera on the one hand while showing us uglier mini dramas playing out at the front and back of house.

This is a gem of a role and Peretti allows himself to be fully absorbed by it.

The film is likely to be branded 'controversial', the biggest pity is that there is very little to say about it beyond that.

The film still doesn't work, but not for lack of effort expended.

A stylish femme-thriller with good twists and turns.

First-time feature director Juan Pablo Félix takes the same energetic, forthright approach to his filmmaking that his protagonist does to his beloved malambo dance.

Jazmin López’s debut feature is in narrative terms a bit too foggy to sustain one’s emotional engagement.

Gueye is quite a find.

The glorious sight of a flying nun, an image Korine has said was one of his inspirations for the film, is both a moving and a joyous one.

A balance is struck. Be serious about the swordplay and have fun with the rest.

A through-line in the work of writer-director Icíar Bollaín is her interest in representing a variety of female experience, in both private and professional spaces.

The energy of it, combined with Gálvez’s endearing performance, means it’s likely to work well in any environment.

In one of the finest performances of his career, Sean Penn is understated to convey finer feeling, yet passionate on the soap box to an inspirational degree.

It’s not an original scenario but Music On Hold’s charm is in its characters and humour, not its plot.

The scratchy texture of the film lends an ethereal quality to the images almost as if the passing sea frets and attendant mist have soaked into the very fabric of the film.

A triumphant piece of filmmaking.

There’s a still photographic quality to the cinematography from Lorenzo Casadio Vannucci, with the studious, fixed framing matching the meter of the film and allowing time for us to appreciate the texture, not just of the lives of these characters but the spaces they inhabit.

Weirdly, this spectacular mess of a film delivers, for those patient enough to get to them, a few moments of brilliance.

For the second time, Costner has bet the farm and found his strength in cattle country.

There is no doubting the darkness of the nihilism at work here, but somehow Sossai finds ways to connect us to the bleak loneliness and disaffection that is driving Fausto and Ivan's desires while offsetting these emotions with warmer encounters the men have with others.

Pasolini's unfinished life remains painfully unresolved, as it should be.

Writer Caroline Labrèche and co-director Steeve Léonard use science fiction framing to invite viewers along on a journey that will take them somewhere very different.

There are images here that will be forever etched in genre lore.

Cruise is by far the most entertaining thing in Rock Of Ages, and as with all his films, he looks like he is trying exceptionally hard.

Whatever expectations are carried in are brought to a stop, hard.

Revenge Ride has a kind of rough-hewn grace, a purity that's rare in today's cinema.