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The pace squeezes your windpipe; the action pulverises your senses; the plot double crosses your preconception

Without wanting to sound like the marketing director for Cliché City, the film is heartwarming, life enhancing and full of love.

For the most part it’s a clever, solid script with a quirky take on the femme fatale role.

The story expands beyond the conventions of a Boys Own adventure

This is director Vito Rocco’s feature film debut and he passes with flying colours.

The film feels adrift in time.

Handsomely mounted and costumed with enough sparks and pace to quicken the interest and heighten the senses.

As a snapshot of the influence parents bring to bear on their offspring it lacks engagement for the audience and takes the attitude that everyone watching should be enrapt by the self-importance Penn brings to bear.

Perhaps not as good as the sum of it’s parts, McGuigan’s second effort is visually impressive, a great comeback for McDowell and a launching pad for Bettany.

This derivative drama might have worked quite well as a four-part mini Sunday night series for the BBC. As a film, however, it fails on almost every count.

Shot through with Leigh’s trademark improv-based dialogue, constantly finding humour and truth in the mundane.

Smith delivers a characteristically subtle performance in a role which could easily have been played without a hint of self-awareness.

Given the Rampling family pedigree there are certain expectations of quality, and Southcombe largely lives up to the promise with this sharply stylish crime mystery that gives plenty of space for Rampling to flex her acting muscles.

A mishmash of all the usual poor wannabe filmmaker clichés

It is a striking audiovisual style which rescues this production from many of the more hackneyed tropes of British social realism and urban grit.

The film has a genuine sense of grand guignol, the Gothic undercurrent of bloody horror

Miami Vice is definitely style over substance.

Abrams combines kinetic action sequences with internal logic-fuelled storytelling to give us an impossible mission head, shoulders and a rabbit's foot above the previous two instalments.

Epic, sprawling and inspirational.

Nick Grosso's film looks improvised in the style of second year media studies.

Films as brave and intelligent as this are a rare commodity and should not be missed.

This gentle tale of love in the face of the threat of war could do with a bit of rocket propulsion itself.

Unashamedly low budget, it focuses on good acting in claustrophobically tight sets.

The film dribbles from one disappointment to another, whimpering gently.

A more action-led and contemporary take to satisfy modern audiences, with a hero who's as much a swashbuckler as he is a stuffy intellectual.

A gripping, exhilarating rollick through a medieval wasteland.

Not still, but gently moving.

A charming and entertaining take on the film within the film scenario, with solid performances from all of its cast.

The acting has a richness that sparkles.

What really stands out in Tyrannosaur, however, are the towering performances.

Once again, the power of Leigh's films derives primarily from his obsessive attention to detail.

A story which is, ultimately, about learning to think differently, to change the way that we direct our attention and resources in order to open up the possibility of renewal.

Compelling viewing.

In making V a symbol of vengeance, valiance and victory, V For Vendetta does for a letter of the alphabet what Kill Bill did for the colour yellow.

While there are plenty of laughs, the film might be victim of a too-linear, too-literal and too-revealing trailer, and the impact of its funnier moments are dampened by familiarity.