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Sprinkled with a heady dose of magic realism, this film is lovely.

Brilliantly played, Testacaldo is one of the most interesting antagonists to emerge from Italian cinema for years.

It’s a journey filled with quirky little incidents, as often in tales like this, but they all register a little differently in light of Shawn’s suicidality.

With darker themes filtered through the turmoil of adolescence, Antoneta Alamat Kusijanovic’s début feature mingles picture postcard imagery with scenes of fish being hacked to pieces, blood and guts part of the day to day order of life.

There's good craft here, acting and action alike.

El Hosaini is wise to inject visual majesty into her otherwise gritty tale.

Sabrina Dhawan's script has an unexpected wit and clarity that makes comprehension of blood ties less important than the sheer enjoyment of it.

Dixon has certainly got what it takes.

A tragicomic ensemble piece about people on the edge and love on the rocks.

Considerable courage has gone into acquiring this footage.

The relationships are well drawn and delicately handled by a capable cast, so one wishes that the script would focus more on them.

Unlike many first-time directors who have the urge to cram more and more in, Nagy and his co-writer Pál Závada instead strip things back, letting the trudge of the men tell its own tale.

It is a film that is sustained by the irresistible, irrepressible duo at its heart, and by the appeal of seeing the typical stoner bro movie repurposed for the female perspective.

Fabiula Nascimento is superb as the frustrated Odete.

At one point it seems “Panahi” could easily step from one country to the other, but as his film shows, leaving is not always an easy option.

The honour of horror has been disemboweled by this film

A quietly humorous, gently endearing examination of one man's attempts to get his hands on the American dream.

As well-constructed documentary, this contains emotion but avoids cheesiness.

The performances are generally solid, the soundtrack and visuals wonderful and the ambition is vaulting, but it is ultimately a failed experiment.

It’s a tremendously challenging role, in which Maadi excels.

[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.

A real slam dunk.

With Petterson’s novel heavily focused on Trond’s inner life, it’s no easy task to bring it to the screen.

Visually startling and constantly surprising, Paper Soldier is a major work of modern cinema.

His [Abu-Assad's] controversial decision to place melodrama before morality, while allowing Paradise Now to transcend its hefty (and painfully current) ethical baggage, also allows us to empathise with its conflicted protagonist.

There’s something poetically haunting about the couple’s existence and the smallness of their world.

Audiard captures the fluid nature of relationships for a younger generation navigating both on and offline opportunities and, because this is French, it also features plenty of gracefully worked sexual encounters.

The combination of Efira and Magimel proves magnetic.

German director Wim Wenders allows Paris, Texas to unfurl with such assured calm that each delicate narrative revelation, no matter how trivial or terrible, seems a natural and almost obvious progression.

Shooting much of this at night on a low budget, Trukanas pulls off some impressive work.

Thedin is excellent in the central role, perfectly balancing Jill's wisdom and insight with her vulnerability and sometime naivety.

This is no TV-movie style real life horror re-run. It's something whose focus is cultural, moral and - eventually - personal.

The close proximity camerawork employed by Sheldon Chau, coupled with the fact that the frame is often reduced by foreground intrusions, lend Pooja, Sir an intense and often claustrophobic feel.

Taking care of business is rarely as emotional, but it's part of Power Ballad's exploration of authenticity.

While much of the visual humour works perfectly thanks to good timing and framing, some of the running gags seem more suited to a sprint than the marathon Rejtman takes them on.

By delving into fiction, Huezo is able to focus on the impact of this crisis on individual human lives.

An anarchic reminder that laughter can be mightier than the sword.

An unlikely, but highly effective, marriage of arthouse and mainstream sensibilities.

One of the things that makes Psychobitch stand out is how flawed both its principals are.

Director Parker excels at misdirection but risks losing audience interest in the process.

Like its predecessor, the film does an impressive amount with an obviously limited budget.

The script is knowing, loving and amusingly toys with the genre.

Gives 300 a run for its money as one of the funniest films this year.

There are images here that will be forever etched in genre lore.

There isn’t such a thing as a well honed one-liner, or a scene that doesn’t make you want to curl up into a ball and ask to be kicked.

A solid, and certainly heartfelt effort.

Once the action gets going, it’s easy to forget that the plot has left for the planet La-La and just enjoy the fun.

Ransomed is the sort of blockbuster which Hollywood used to make before most of its big studios forgot how to have fun.

The relationships between the the three central characters are well realised, especially by Van Houten and Reijn who've worked well together before.

There's a subtlety to all this that speaks well of Meyer's thoughtfulness - she never goes for easy options such as having one character be prejudiced against the other, instead simply allowing a respectful attitude to grow into an increasingly strengthening bond.