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It's difficult to express just what a bold piece of work this film is.

Schwarz...plays fast and loose with the facts, except where it comes to the combat scenes, which are brilliantly staged and also attentive to detail.

Pure, stripped-down bleakness, both in the desaturated drabness of its appearance and in the last-days essentialism of its themes.

For all that there are premonitions, dreams, even a witch, in truth this is a film without magic

An affectionate, thoroughly enjoyable biography and tribute.

Fine model work, excellent production design, an overwhelming sense of menace.

The latest in the line of hairy hauntings, Shutter, for the most part conforms to expectations, although it has a pay off which lifts it above the pack.

A monumental bore.

It's an ending that has haunted me for 30 years...

What marks Rúnarsson's film out from so many similar coming-of-age films, however, is its strong sense of place and the inner strength of his central character.

There is nothing wrong with shoestring budgets and ordinary effects, but without imagination they look ridiculous.

Kain's finely judged performance is a joy to watch.

A film that probes at ideas of masculinity and the fluidity that the smoke sauna environment might bring to that, the emphasis is on the physical expression of feelings rather than them being vocalised.

The narrative failures of the second half are mitigated by the handsome styling and the sea maidens themselves, which retain a mysterious melancholy even after we've seen one up close.

At heart, this film is a mystery, tantalisingly unsolved. Where do all those hot dogs go?

There are quite complex issues here for children to engage with, but they’re presented in an accessible way, and repeat viewings will prompt kids to ask different questions as they get older.

Released for the Christmas audience, this film does have a touch of the pantomime about it.

The years haven't dimmed the lights on this delightful film.

The Social Dilemma has so little to offer that's new that one wonders why anyone bothered to make it.

A film that, while laudably ambitious, struggles to stop its ideas from becoming so unruly that they squabble with each other for attention.

The beautiful cinematography, the bluesy jazz score and the gentle pace of the film are beguiling, but Masciari makes sure that we don’t lose sight of the ridiculous.

Nothing quite works.

The plot is by numbers and has no sense of involvement.

Townsend is fully committed to the role and her performance is as heartbreaking as it is disturbing.

Just as these characters all sound like they are named by pre-teen kids playing with action figures (apologies to the storied history of DC) the plotting follows suit by treating them just like poseable toys.

An exceptional performance from Venu.

What is most astonishing about Sunshine Superman is how genuinely happy everybody looks.

Ormond and Pullman abet Surveillance's queasiness with their characters' near-complete apathy to the situation unfolding around them.

It would be overly enthusiastic to say that Survival is a true return to form after the relative misfire of Diary, but it is difficult to deny that Survival is a pretty good piece of genre filmmaking.

Gwyneth Paltrow gives a brave, uncompromised performance that does not shrink from the self-possessed obsessions of a selfish mind.

Just another poncy art movie with a zillion pointless scenes and an editor who doesn't understand that his job is to cut out the empty bits.

Theatre groupies will adore the incestuous ambience, while those in outer darkness won’t be changing their prejudices about arts and farts in a hurry.

It would seem that The Ends Of The Earth has everything going for it. Unfortunately, it's interminably boring.

The landscape plays a major role in this movie, with its bleak, open spaces, adding to the feeling that the characters and their emotions are curiously incidental.

Nil points for originality.

It’s a film of tremendous scope.

A more than creditable effort by director Chris McKay and writer Zach Dean.

There isn't a point where Ares feels fun.

Where Roberts' screenplay opted at times for easy sentiment the Coens' writing is not only wittier but also as chilly as a late Oklahoma autumn.

Unfolding without tension or logic, Untraceable doesn’t miss a derivative beat.

Yerzhanov explores the pernicious tenacity of the status quo, with Azhar already groomed to be happy with her lot and others all too willing to fall in line

Brilliantly made.

It is hokum, pure and not-so-simple, executed with youthful zest.

Though she's following in the footsteps of many an exploitation movie heroine before her, Kravitz carries it well.

It is the casting of Jónsson that is the film's master stroke. Known as a comedian in Iceland, he brings a great sense of underplayed comic timing to Fúsi, resulting in a big impact from small gestures.

The success of writer/director/star Anna Biller's film hinges on her own charismatic performance, and she just about manages to pull it off.

There’s a “Warriors, come out to play!” vibe about it, but alas, like that film, it is better to remember than it is to watch.

By keeping the plot simple, the characters are allowed to find their voices and flourish.

For all its austerity, Whisky never fails to surprise and intrigue.

Australia's finest horror film in years.