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In the dark no one can hear you die

[Pixar] have stuck to the golden rule - 'It's the story, stupid!'

What saves the film is its photography.

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.

The film rests on an extraordinary physical performance by Jensen.

Lulu Wilson’s impatient energy and Wexler’s panache are perfectly matched.

To the extent that it's successful, this is thanks to McClatchy, who manages to make Maggie completely believable even in the most absurd situation.

The premise sounds like a playpen for vulgarity but Michael Lucas's script is smarter than that.

It’s an uneven film, emerging as a series of comedy skits before gradually melding them into a coherent story.

Goldman spins a moving story and allows the audience to empathise with the characters.

This is storytelling in its truest sense and the cast rise to the occasion.

The dismal decline in the quality of British films continues apace.

Not a great deal happens in this story of survivalism and primitive conflicts that we haven't seen dozens of times before, but by sticking with Anna's perspective, writer/director Josh Mendoza makes it all feel very different.

Taplitz is a real find, bringing depth to a character who doesn't get much room to express emotion given the film's dry, mannered style.