Search: Starring Imogen Poots

28 Weeks Later... makes for scorching horror. Like the original, it offers a perfect blend of well-drawn characters, political allegory, grand guignol, flesh-crawling tension and very fast-moving zombies.

For those who get into the rhythm of it, this is an instant classic.

The film struggles to create the emotional resonance needed to connect with vulnerable and troubled characters.

While tolerance levels for this kind of self-consciously arty style will vary, it is hard to fault the fizzing ambition and high-voltage energy that K-Stew and her team bring to the party.

Juno Temple, building on the early promise she showed in Atonement, is superb as Di, fragile and sympathetic even at her most unpleasant.

Centurion cannot escape the huge shadow cast by previous swords-and-sandals epics.

Zeller elegantly and scarily fuses dream logic with markers of past trauma.

Pfeiffer’s delivery is fantastically inscrutable.

What's noticeable about Gillespie's version is how little really has to change to make it work.

It's sad to see McAvoy's raving, raging talent gone to waste on something so patchy.

Some of the plot twists strain believability but Ross has a tight hold of the film's emotional drivers, mixing moods like a heady and dangerous cocktail so that a disturbing tension builds.

Less psychological and more formulaic than his previous feature, this is still relentlessly entertaining.

DaCosta has managed to create something which feels acutely contemporary and fresh.

The film fails to fill those spaces between speculation and that other thing - truth

Malick and his cinematographer Emmanuel Lubezki, if nothing else, deliver stunningly beautiful vistas and backdrops for his narratives and characters, yet like the characters, there seems to be something empty at its core.

Once it has established itself it unfolds with an almost metronomic inevitability, but for all that, for all that, it still satisfies.

This is a serious and entertaining character study - stripping down the lives of Soho and Raymond - that has the looks and acting talent to win over a crowd.

If the smell of exhaust nauseates you and the sight of skinny grown boys going all the way with macho machines makes you want to take up cycling, stand well back

The cast are terrific, and the comic set pieces are handled with precision and impeccable timing, even if not all of the jokes hit home.

Sweet Virginia is a simple story told very, very well.

A Teacher is not the most finely crafted film, but it is a cri de cœur.

Lorcan Finnegan never allows us to lose sight of the absurdity of the situation, nor of the real life absurdities that it points up.