Search: Starring Jar

Filmed with limited resources, Marin Blue is a great festival entry, with a lovely dreamlike feel.

Edgar keeps things 'real', with the violence brutal but believable and with psychological underpinnings that are more complex than the average gangland thriller.

The balance of the super real with intricately timed artifice and how they collapse into each other is Baumbach's crown achievement.

The narrative depth also accrues gently, like sedimentary layers, as the film progresses, looking deceptively slight at first but gradually building into something more profound.

This is a very subtle and accomplished feature debut.

The film becomes a mixture of Dad's Army and The Cockleshell Heroes (without the cockleshells).

The perfect summer movie for the eternally 12 who like to travel in style.

In any film franchise there's got to be one that's the least good, and this is it.

Dormael’s film fizzles with an abundance of ideas, most of which are beautifully realised.

Even those elements that will seem most unlikely to audiences unfamiliar with aswang mythology are carried with conviction and grace.

In the end, it is a question of taste. Either this is Capra refried, or Sandler on toast.

Essentially a Republican wet dream.

There is a weight of ideas here and they are sometimes too much for the script to bear.

A good story that is well-scripted and solidly told and acted.

While each of these little worlds holds intrigue - as do the dreamlike cutaways to forests of the mind that Zhenia induces through hypnotism in his clients, lit and shot with care by Englert - the film never quite settles into a groove.

Canet is fantastic in opening up more and more of the secret chambers in this frightening man's heart.

Jacob Møller’s cinematography brings out the mystery and danger of fog; the bright urgency of summer days, green grass and sparkling water on pale bodies; and the weight of darkness with equal surety.

Cinematographer Bergsteinn Björgúlfsson captures Iceland at its wildest and yet this is also a tale of intimacy without romanticism.

Twelve is the new 11 and mediocre is the new good.

This retelling is the one you seek.

More a portrait of a friendship than of Omar and Cedric as creative artists.

There is a fragility and brittleness to this but also an underlying warm sweetness that might just melt your heart.

This is a film made out of pieces of other films.

OSS has style in spades.

The team’s eye for a good sight gag and ear for an unwittingly crass pronouncement remains intact, as does their intimate knowledge of, and obvious affection for, the movies they’re sending up.

An impossibly-charming rom-com that’ll win you over if you give it a chance.

The director has a flare for encapsulating a world of emotion in a single moment.

After the initial disbelief that Jarmusch has written and directed a movie as simple and quiet as this, you settle into the rhythm of the piece and begin to appreciate the secret

Hornby's novel is a master class in relationships and rich human interaction and the Farellys have done it reasonable justice, however diluted by its screenwriters.

A nice riff on Asian horror’s ethereal connections subtly loops the episodes together, but the simple morality tales make for an uneven whole.

Unfortunately the malicious ghouls of the title aren’t the only spirits haunting director Gil Kenan’s prefab carnival ride.

The film feels fractured, with bizarre transitions and editing, which often leave you wondering quite what's going on.

An excuse to show gay soft porn and try to emulate David Lynch’s uncomfortable weirdness.

The camera soars like a bird, zooming and floating through walls, pressing the audience into a voyeuristic role.

This is a film which might sound cloying sentimental, yet is anything but.

The film is about death, whether in the arena, or out

Directors S Baasanjargal and Shuudertsetseg Baatarsuren reclaim Khutulun in all her glory, finally doing justice to the woman who was perhaps the world’s most notable warrior princess.

Coppola paints pictures of mid-century Americana and the codes and moral shortcomings that go with it.

The film is expertly performed.

Overlong, too violent and bleak.

Watching this film is a little like watching a man try to clear away quicksand starting from the centre of the pool.

The film is perverse and weird but the director doesn't know how to choreograph it for maximum effect

Such intelligent use of camera and cast lifts Yates out of the pool of promising young directors into the front line of genuine hopefuls.

For an outsider, it's hard to imagine a country growing up without these narratives.

What Aronofsky has done with Selby's script is remarkable. With the use of split screen, hip-hop montage and every trick in the cinematographer's bag, he has forged a work of considerable significance.

McLean eases us into the story and straight away begins to slowly crank up the tension and muster an unshakable air of sickening foreboding.

There's a creepiness here from the outset and no amount of dark humour can alleviate it; as the tension escalates grown adults will also find themselves hiding behind the seats.

The narrative deals profoundly with grief as well as loss which will assuredly resonate with most of us.

Full of shocks, but disappointingly light on horror.