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Ideas of war in the abstract and the tension between the necessity of an action and the action itself will go on to be explored throughout a film that mostly concerns itself with the horrors of war that happen away from the frontline.

Lorne Balfe’s magnificent, melodic score shapes our sense of time passing, just as shots of the open desert, of the emptiness around the palace, add to our sense that all that history is present and immediate.

A film like this is a costume designer's dream.

As with many Dupieux films, beneath the laughter there’s a fair bit of insight into the absurdity of human relationships.

Both the style and the quality of the acting are somewhat uneven, giving the impression that more time and care was taken with some story strands than others.

What is quite wonderful in all this flowing and "fade, fade, fade," fading is that the characters and their stories belong to no one specifically. They belong to a cinematic spirit world and maybe nobody even wanted them.

Forever Loved is at its best when it avoids embellishment.

There is nothing new under the full moon. Frostbite has the advantage of enthusiasm, naivety and youth.

Lazarov lets his tale unfold gradually like a gentle thaw

The performances are all first class, with any one of the three leads capable of carrying a film on her own.

Neel’s movie grips not because of its depiction of hazing, although that is sweaty, disturbing and naturalistic, but because of the psychological tension that builds between the two brothers.

Jenna Cato Bass’ tight, unnerving thriller creates a landscape of small signals.

The plot strands are abandoned after the intro, the characters never encouraged to rise above their cardboard.

We feel rather as if we're watching Springtime For Hitler but with real gas chambers.

Ilyas, better known as a model herself, displays impressive range for what was only her second film.

Gravity is a reasonably skillful and elegant thriller, working well as a piece of visceral moviemaking.

The characterisation of this verdant terra incognito is decidedly old-fashioned, like a racist grandpa who insists on holding the door for ladies.

This Spanish serial killer is a twisted combination of all of Hollywood's greatest psychos - clever, cold, calculating and seriously sick in the head.

Parents of younger fans will be pleased to note that although there’s lots of jumping about and running around plus enough lipgloss to paint the Forth Bridge, there is not so much as a hint of raunch.

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

As a documentary, the film has to be rated a failure. As an exercise in storytelling, it is more successful.

One of the most impressive horror films of the silent era.

A cri de cœur on behalf of all those from who hope has been stolen

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.

Although it is technically beautifully realised and features an impressively varied and supportive score from Terry and Gyan Riley, not all of Girard’s connections fully work.

Mendes more veiled than unveiled and, at times, resembling the Virgin Mary, is wonderful, confused and tender.

A film of exquisite beauty, shocking power, delirious intellect and wicked humour.

The plot flies in and out of lunacy at gasp speed

Young love has no currency compared to dirty currency and freedom is a dream rather than a promise.

A charming, if a dark hearted, coming of age story.

Hant and Borodachyov's neatest trick is the way that the two men's awfulness to one another - a sort of no-holds-barred bitter-off - paradoxically stokes our sympathies.

The biggest problem with the film is not its snail's saunter, but rather the minimalist way Pitts approaches the scripting.

The sexual and gender politics that course through Almodovar's best work are in evidence here but there's a distinct lack of focus, leaving the film a somewhat forced flight of fancy.

What Laugier lacks as a writer he makes up for as a director, aided by some high quality costuming and set design.

Imagery and sound are so closely wedded throughout that at times it seems meaningless to distinguish between the two.

There's much to enjoy here, from the gripping performances, particularly from Taujanskaité and Bagdziunas to the handsome cinematography from Denis Luschick, showing bags of potential in his first feature

"Patience is the greatest gift on the path to perfection," we're told and, truth be known, you're going to need plenty of it when it comes to the plot.

The characters speak naturally about the things in their life, and the film trusts us to piece together the essential information.

The potential for violence and creeping paranoia haunt the film, but though some elements of it may feel murkier than others, there's always a sense that Matulevicius and his cinematographer Narvydas Naujalis are in control.

Shenk gets almost unfettered acccess to Nasheed, who is refreshingly honest about the tactics he is employing to get other countries onside

The puppets are wonderfully expressive, and alongside the drama you can enjoy battle sequences and even musical numbers with wild choreography.

Anchored by Anthony Ippolito’s performance – he not only bears a striking resemblance to Stallone, but his physical and verbal mimicry is uncanny.

Stay with it, allow it to draw you in and in the end you will have your reward.

Has a quiet, stark beauty and a fragility of construction.

Westerns require action and pace not brooding silences and broken dreams

The writing is witty and observant, without being cruel.

The comedic interplay between the two leads has that intimate quality like squabbling between family members.

Brought up a notch by a fine cast, some genuinely funny scenes and a curious darker streak that lies beneath the laughs.