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A film worth shouting about.

A terrific soundtrack and Jamie Bell’s perfectly judged performance and charismatic persona holds it together throughout.

Wonderful performances abound.

Its humour - this is a very funny film - comes from observation and character.

Reckless, feckless and, above all, utterly irredeemable.

The truth is that this genre mash-up attempt ends up feeling more unintentionally hilarious and hysterical than impressive or refreshing.

A good decision von Trotta makes, is to use the actual footage of the trial and not have an actor play Adolf Eichmann.

As you would expect with actors of this calibre, there are some delightful sequences where the two leads display their acute comic timing by playing off each other.

Kuosmanen constantly shifts perspective, asking us to view the situation from a different angle - and another place of emotional truth.

Mostly excellent.

An exercise in sentimentality.

There is plenty of gore to enjoy and the visuals are captivating in an artsy cyberpunk kind of way.

Suffers from a lack of narrative tension.

It is jaw-droppingly funny, but also somewhat perplexing.

'I don't know what to say,' mumbles its cop hero, which pretty much sums up the dialogue.

First names are, of course, never used because they're out-menning the men in every department, including misogynist asides and police brutality - by the end of the runtime you wonder why they bothered casting women at all.

A refreshingly dry and uneasy comedy, which pokes fun at self-absorption and analysis.

Shakespeare's most popular history... lashings of style, wit and theatrical skill, all shot in Glorious Technicolor.

In its sly way, this film presents a revealing portrait of a man with very precise control over his own image.

An odd mixture of the striking and the squandered.

Hairspray is a sincere, thoroughly entertaining romp; bursting with boundless energy, inventive choreography and performances that quite simply delight.

There's a generosity of spirit here that is increasingly a feature of teenage dramas as writers and directors move away from stereotypes to more complex characters.

Despite its conventional approach, Adrion’s doc reveals itself to be a comprehensive and important study

The end result could do with less tangent and more of the gent himself.

Gibson's courage captures criticism. He leaps at the role with such raw excitement that comparisons are superfluous.

Predictable and embarrassing, despite a cast that deserves better,

This film basically consists of some worried looking people running about a bit and hoping that the bad things will all go away.

The originality of Happy Feet is a genuine surprise. Whether the script will hold the attention of the under-nines is less easy to judge.

A mixed bag, as while Everett the actor masterfully evokes the mournful mix of decadence and decay of the last years of Wilde, Everett the filmmaker is, like so many before him, too much in love with the brilliant old rogue for his own good.

Building confidently upon its central twist, Hard Candy is a strong two-hander

As a director, he captures the seedy glamour of the gambling world perfectly and as a writer he propels a taut, no-frills story along with a screenplay that’s literate and believable.

Doesn't take itself any more seriously than is necessary to sell itself as a funny stoner flick.

You just don't get family movies like this anymore.

Is it familiarity that makes the heart grow fonder? Or magic?

No surprises. Nothing to write home about. And yet thoroughly entertaining.

What saves the film is its photography.

It stands out for its failings in a genre where there's some seriously tough competition.

It’s ridiculous to have a Russian director who obviously has strong opinions about Russia and especially about the Russo-Ukrainian war make such a tone-deaf film about the Russian threat.

For all its silliness and the slapdash way some scenes are put together, there’s a good solid story here and the film rattles along at a healthy pace.

It is a triumph of the imagination over a plot that is not really a plot, more an emotional car crash.

Mostly played out as a two-hander, this is a film which combines ambitious world-building with an intimacy and specificity that draw the viewer in.

Hellboy holds his head high above the mass of superhero characters thanks to a terrific performance by Ron Perlman.

Cinema is full of monsters, but few in recent memory have been so capable of eliciting our sympathy and understanding.

Too silly to be upsetting, too well crafted to be dismissed, Hell Hole strikes just the right balance and does a great job of sustaining it throughout.

I personally found Aster’s film incredibly unsettling, one of the closest approximations to the kind of nightmares that really shake me that I have seen on film recently.

A gem for lovers of great show tunes.

The final twist comes across as amateurish and lazy.