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The success of this film stems from its delicate balance, its neatly woven subplots and avoidance of the direct confrontations usually associated with such tales.

The ingredients are here, jumbled up, too confusing to fit the restrictions of a single screenplay

Distrust is a dangerous and volatile thing and Reeves' film shows how it is this rather than grandstanding gestures that often lead to conflict.

The grandeur and beauty of the place is set against figures of climbers, like black ants, across a white wilderness

This is a story about grief and loneliness here masquerading as one about rockets.

The closer Luhrmann stays to the spirit of Fitzgerald and the more he trusts his cast, the better the result.

In A House Of Dynamite the uncertainties are propulsive, what we learn unsettling. Each tick of the clock reorients our understanding of the same events.

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.

Compelling stuff.

Both Hedlund and Mitchell deliver strong performances and balance well against one another.

The directors, Kevin Kolsch and Dennis Widmyer, avoid horror comic clichés. In fact, they avoid clichés altogether.

Undeniably, powerfully, tragic, a tale of ambition, bad decisions, cover-ups if not conspiracy - actual smoke-filled back rooms and dirt-road meetings notwithstanding - it is sympathetic to its protagonist but only so far.

Despite a solid cast and good use of location, we really have been here many times before, regardless of how many twists Lahiff compounds to get us there.

The film is saved by one of Schwarzenegger's strongest performances to date.

If you've read the paper during the last ten years, you won't get much new insight here.