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A capable actress can do only so much to make herself watchable in a movie that is often not.

Clavellino's approach is unsentimental and all the more believable for that.

If you liked the first film, this is a lot more of the same, with the curmudgeonly DeVito adding enjoyment to the framing sequences.

The heart of the film is a performance from Harry Gilby, in a feature debut - ably managing to convey not only the struggles but the strengths of young Charlie in the face of any number of vicissitudes.

Better standard camera techniques and catchier tunes would be more likely to ensure box office success.

The photography is stunning and many of the set pieces are visually exciting.

Its shock tactics never feel cheap and its cerebral bent should see it transcend the torture porn ghetto.

A reasonably polished film considering the minuscule budget.

Rarely does a character jump off the screen in the way Klara does. Ortega is luminous in the role.

Although there are no truly outstanding performances, neither are there any weak ones in what is essentially an ensemble piece.

I enjoyed this film for its bittersweet realness and comedic situations.

From silence and small details, César Augusto Acevedo weaves a devastating tale.

Is the action packed? Certainly. Does it add up to anything? No.

Despite a strong performance from Larisa Kalpokaite, all sad eyes and glossy brown hair, it is difficult to become emotionally involved in the plot.

Ethical acts are met with punishment and moments of kindness are just fleeting enough to make the next torque of tension feel all the more severe.

A sublime lesson in emotional manipulation through cinematic traditions.

The film could be called "old fashioned" but that is rarely a bad thing.

The themes attach themselves like lead to each exchange, giving everything a theatrical quality and rendering character development so bland that no amount of roving camera can offset the airless result.

Lancelot and Guinevere's passion comes across as cold water over grey slate.

Eytan Rockaway balances on a thin grey line between black and white, truth and lie, and between good and evil.

Manizha Bakhtari may not be a household name but after watching Natalie Halla’s documentary you’re likely to think she ought to be.

The filmmaker focuses on delivering raw human emotion that makes the story unique.

Sarah Kernochan's screenplay is precise and doesn't shy away from the real-life absurdities we all encounter.

A unique stream of black-and-white images resisting clear labels, both vagarious and fragile at the same time.

A film brimming with freshness in its ideas and their execution.

Novikov's film has the virtue of being a simple tale that is well told.

A sort of freefall trip through both the director’s subconscious and the Cambodian underbelly.

Mompremier is superb in the lead.

Luckich's love of silent comedy is everywhere.

There is not much difference between Chris Menges' new movie and any other drugs-related thriller.

The writing is sharp and the characterisations of Victor and Anja winning.

Non-car people will find themselves forced into the position of disengaged anthropologist, observing all the vehicular bump and grind without gaining any real insight or emotional connection from the experience.

Griffiths enjoys showing us the particulars of Ellie's life and it doesn't feel like exposition though it might look a little ersatz.

A taut chiller, skillfully shifting audience sympathies.

The film feels surprisingly modern but never anachronistically so.

The film is strongest when it is being visually and aurally adventurous.

The film consists of various set-pieces which jostle to outdo each other for gore and inventiveness.

Overall, it's a lot of fun, although some of the spectacular action sequences are a little too derivative.

The inevitable schmaltz may be a little too saccharine for some, but the premise is unique and the situations dynamic enough to elevate this a little higher than it seems at first glance.

Rather than pick apart rituals... Weinstein simply lets us see them in action as part of the natural fabric of his life

But if a certain sentimentality means that there is a little too much included, the film also benefits from the obvious emotion that the contributors all pour into it.

Pleasant enough.

Manchester By The Sea is a masterful study of clumsiness.

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

Often you see the truth in her face, not in her words.

We get to see every inch of Hassane's skin without ever truly being able to get beneath it.

An exquisitely crafted piece of work.

Despite the speed of the action and the variety of locations across which the film takes place, not a single shot feels rushed or incidental.

Whether the stars will align for the rejuvenated franchise is unclear, but for now there's a surprising amount of extraterrestrial fun to be had here.