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A wonderful black comedy.

The cast deliver good performances, but not enough for the burden they're expected to carry.

The suffering on display here is relentless, but it's the form of the film, not just its content, that gives it its power.

The 99 Unbound might just about cut the mustard after school on CBeebies but its low budget and rudimentary design are cinematically embarrassing.

Grim, bleak, misanthropic, confronting and uproariously funny from beginning to end.

A haunted house movie par excellence.

A cast of talented actors and a superabundance of musical acts and a genuine sense of fun.

Aces is a paean to worker solidarity but it is also honest enough about Spain's economic reality to acknowledge that holding each other up is not always enough to endure the precarious times in which we live.

Heavy on nuanced dialogue, this small-scale cinematic gem has a lot of genuine heart, giving it an endearing authenticity.

If I had a magic lamp and three wishes, after the whole ending war and famine stuff, I'd use one to wish that Disney think long and hard about these live-action remakes.

Truth is found in detail and gesture.

This film is - sorry, but it has to be said - the dog's bollocks.

There is no doubt this is kitschy... still, at least the book is treated seriously, some of Collinson's framing is memorable and the central 'who's-doing-it' conundrum holds firm

Barandich's down-to-Earth charm and brusque humour anchors a film which finds absurdity in the commonplace details of life.

Khlebnikov and Meschchaninova capture the essence of long-term relationships at the point when the firework bursts of highs and lows have been replaced by the dripping tap of minor annoyances that are becoming harder to ignore.

Little details like sipping rather than drinking whole mouthfuls, or marking bottles to keep track of how much one has consumed, are so familiar to the characters that viewers too will quickly start taking them for granted.

If it has a saving grace it's that it's not two hours long, and one hopes that those involved had some nice evenings out in Turin while filming.

Fans of action and espionage will find a good deal to enjoy.

The Awakening is a film that will keep you guesing as multiple possible solutions to its puzzles appear and disappear.

There is some truth in advertising - Age Of The Dragons does drag on for an age.

That they make such a fascinating pair is down to Delaporte's spare but beautifully observed script, and the brilliantly understated performances by Clotilde Hesme and Gregory Gadebois.

The film has soul rather than unity of purpose.

A solid, grounded piece of work that approaches its subject with a maturity remarkable for a first feature from a young director.

Gomes uses cinematographic tricks to trick us into thinking we are simply observing what has been carefully shaped.

The film is much about the changing nature of Beirut and bearing witness to the past as it is the eviction.

The film's sugar content is off the scale and it doesn’t help that everyone who comes in contact with Evan are sooo nice it reaffirms your belief in human nature – well, almost.

Seema Biswas dominates the screen as the much-wronged, vengeful Devi, moving from tough to tender, from bandit to child with an easy naturalness.

The Pang Brothers lay claim to the throne of those other action thriller maestro siblings, the Wachowskis.

If they sometimes have trouble moving seamlessly between the smaller dramas of childhood and the bigger picture of the protests, each element of the film carries resonance in its own right.

This is a dark and crisp little tale, like an icy night.

Awkwardness is the order of the day, but it’s addressed in a graceful, fluid style that lifts this above the usual run of indie romances.

Najjar has essentially crafted two films here, both of which carry plenty of interest but they are locked in an unhappy marriage which means neither can realise their full potential.

The Big Blue is pure cinéma du look.

A slow-burning, emotionally haunting film that thrusts the bond between mother and child under a microscope.

Chevrollier captures the amplified mood of teenagehood.

La Bola Negra was an unfinished work in a life cut short but the film named (variously) for it is extension and tribute and triumph.

Bonhoeffer struggles with his faith, but less in the manner of a great thinker and more in that of someone who writes quotes for inspirational posters.

Why make a movie about this match? Why now? Is it the danger factor with Superbrat or nostalgia for IceBorg or the ingenuity of the stunt guys to make the players look genuine?

The promise of a gripping story, grounded in the stark realities of war, is overshadowed by inconsistencies and shallow character arcs.

This feels, at times, like a kind of anti-cinema. It offers its share of sensation and big emotion, but elevates the ordinary, the joys of a more mundane life.

Congratulations are in order to Shattered Glass helmer Billy Ray for playing it straight and subtle, resisting the temptation to jazz up the action quota and indulge in Hollywood speechifying.

An adventure that appears artificial and never feels in any way exciting. However, Hutcherson and Robb are excellent.

Feature debutant Mikael Marcimain matches the script’s fine balance between dramatic clarity and the more ambiguous intrigues of a conspiracy thriller with some pinpoint direction.

There is nothing glaringly awful about the film, it's just that it's very middle of the road.

How much of this is about Casanova? How much about Malkovich and his continuing public self-examination?

The high concept - that the thoughts of everyone on the dystopian New World appear as a cloud of "noise" about their head - does, ironically, take some getting your head around.

Remarkably adept in balancing audience sympathies and bold in its refusal to choose the most easily justified routes for its characters, The Charmer is a powerful piece of cinema.

In truth, this is yet one more safe retelling of an old favourite. Not radical at all.