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Sarandon is convincing, endearing, charming and real.

It all has a very particular flavour. Even a new one.

While his narrative is over-written, Lew has an unfussy and measured directing style that offers promise.

The film has every quality of a personal story.

In the literal act of performance there is room to talk about self as performance, and that is where High-Rise is strongest.

Cinematographer Stefan Duscio's camerawork is crafty, often focusing on empty frames and spaces where Adrian might be hiding, so that every scene becomes instantly tense.

The moments of distinctly sub-Woody Allenesque humour make you dream of what might have been.

Sadly, like many biopics, the film blends so many elements of the life of its subject that it starts to lose focus, and falls back on a relationship conflict to lend some backbone.

The splintered pain of grief interrupted marks out the directorial debut of Reed Morano.

In a day and age where the majority of television is frustratingly geared towards impatient audiences, a show like Mad Men is a refreshing experience

A psychologically astute and darkly funny look at the deep bonds of female friendship and the damage that can be wrought by those closest to you.

While satirically entertaining in places it has too many threads competing for attention and ultimately runs out of steam.

Michael Mayer's reframing of the action puts more emphasis on the female characters and, in so doing, helps to bring out its more contemporary aspects.

Before, it often felt as though Decker was drifting off onto self-indulgent tangents but her latest feels much more under control, with those tangents are a fully fledged part of the portrait.

Us is a deeply subversive film