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The locations are breathtaking, the longships built to scale, the costumes handmade, even chainmail is constructed by the original method.

Produced and directed by middle-class white men, the movie crawls through sewage to appear genuine.

The pacing means the plot doesn't sizzle so much as stew, with only the basic psychological drivers explored.

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.

There’s a lot to keep track of in a narrative which keeps finding new sharks to jump and yet, somehow, keeps us believing.

Vlagopoulou’s performance has a raw intensity that you don’t dare question, less still look away from.

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

It is as though all the moral ambiguity and mean-spiritedness of 1970s cinema had never died.

What makes this film so good is writer/director Todd Graff, who coaxes terrific performances from his young cast and really makes you care about them and their silly teenage travails.

Young Ahmed is utterly convincing in the central role, both in the fierceness of her ambition and in her still childlike way of engaging with the world.

It's classic film noir; except that, being the work of Pedro Almodóvar, much of it is shot in lurid colour, not all the girls are really girls, and not all the boys are what they claim to be, either.

The Battle of Algiers is an unforgettable piece of cinema, utterly absorbing and very hard hitting.

One of Argento’s most accessible, compelling films.

Audrey is the most realistic and respectfully written teenage girl in any film so far this year.

Simply put, I don't know what it's trying to do, and I don't know if it does either.

There is a violence here, a passion, all beautifully shot, all haunting.

One of the most nuanced and heartfelt films in this year’s competition, this is, astoundingly, a début effort.

The higher the emotions are supposed to be stacked, the less enjoyable and more obtuse the story becomes.

Here is a story that evokes Brazil from the inside out.

Hasei's story may be simple but it is warm, unsentimental and has plenty to recommend it, particularly for older children.

The character of the players, the vibrant energy of the music, the faded grandeur of a city spared the vanity of restoration gives the film a unique quality.

The oddities don't add up to anything and the love story between Adam and Helene is as predictable as it is sad.

People keep talking about saving others for whom there is so obviously no hope that all the tension haemorrhages out of the slender narrative.

Everyone is allowed to over-act, not least herself, who runs the gamut of wet-eyed self-pity to hysteria.

The premise questions our storytelling conventions.

A glossy, superficial affair, leading up to a climactic sequence too laughable to impress in any way.

The film itself has a fluid identity, part will they/won't they romance, part mystery and part unsettling thriller.

Love may heal the wounds of adolescence, but emotional isolation is the prison from which these lost boys never escape.

A tribute to the fallen, and so fine an example of cinematic craft that it ensures they will not quickly be forgotten again.

Every image drives the story on, or highlights the characters’ tragedy.

The threadbare plot relies on the performances and writing to underpin this narrative simplicity.

The direction is by-the-numbers and heavy-handed.

As a work of fiction focusing on human rights, as a protest film, it is first rate. But as cinema entertainment it may well be swamped by similar themed films using larger budgets.

In throwing a spotlight on these neglected and unsung heroes Vadepied does an invaluable service to their memories that no amount of medals and ceremonies could achieve.

Once the walls start to move, there's barely a moment to catch your breath as sharp editing, clever camera angles and good use of sound, squeeze the tension of every moment.

Aleñar Iglesias... presents the ordinary world as loaded with meaning.

The direction lacks any sense of realism, which is surprising from a man who made a career out of documentaries.

The script and acting are, at times, very weak.

There's a straightforwardness to the telling of this tale that adds to its accessibility.

There is a breadth of quality about the acting, including a fine performance from Sela Ward as Ben's estranged wife - making a lot more of her role than her meagre scripting suggests.

Well-written dialogue, strong acting all round and unobtrusive but taut direction give it real strength.

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

Suffers from a lack of narrative tension.

There is an exercise in nostalgia from the fonts in the credits that seem serif-perfect to the liberal reapplication of Carpenter's original score.

Moroccan-born Faucon directs with understated skill, never flinching from unpalatable truths.

The performance Erivo delivers is the film's greatest asset and makes her a serious contender this awards season, but though she dominates the film, she's not all there is to appreciate here.

Writer/director Hany Abu-Assad emphasises the menace in the mundane.

Hidalgo is Cliche City's nominee for the Been There award.