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As a spy story it's not great and as a revenge thriller it's not new and between them there's not much else to say.

This is not a serious film, rather a parody. Every attribute of style over content is here

Ayer’s film doesn’t really have the script or plot to back up all the hardware.

This unexpected emphasis on the entire clan and, particularly, its eccentric patriarch offers an interesting change from more straightforward biopics.

The film avoids the easy route to Clicheville and stays on the dark side of the road.

As cool as a multi-coloured popsicle.

[DuVernay is] not here to tell people what to think – rather, she’s presenting them with the tools to start thinking for themselves and making their own discoveries.

Muldowney takes things seriously, with cinematographer Tom Comerford using the lowering skies and boggy heaviness to his advantage

Ultimately the in-your-face style and confusing story stop the emotions from getting truly under your skin.

Villeneuve sustains the knife-edge tension without a blip.

Dunham is constantly looking for laughs and does deliver quite a few, but you never fully believe these people are living in the real world.

A serious pile of nonsense.

I had to step aside to try to enjoy it as a thing itself and I'm not convinced I succeeded.

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

Taylor Sheridan's latest action flick has a workmanlike solidity but despite the repeated presence of physical infernos it never manages to get beyond a low heat in terms of tension.

Zac Efron portrays Cole as appealingly handsome, talented and gregarious and it’s safe to say that his performance rescues what could have been an irredeemably obnoxious film.

The film is well-served by its genre action sequences but it's the traces of grief that linger longest, like footsteps in the snow.

Recent Hollywood heist films - typified by the Ocean's franchise - have been largely concerned with shiny surfaces, gloss and froth but British director Steve McQueen is much more interested in what lies beneath.

This is how you destroy people's dignity and make them yours, Scorsese seems to say.