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An excellent introduction to his nihilistic but strangely poetic worldview.

Fans will be familiar with most of what is presented here but it’s the voiceover from Dalglish and others that elevates this to a must-see for them.

From a technical standpoint, Vaughn and the cinematographer Ben Davies outdo themselves.

Servillo has spent much of the latter part of his career playing narcissistic characters, and he’s perfectly cast here.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

It all feels too professional, too clean, too choreographed.

We don't see the much of the immediate aftermath of death here, but instead are treated to the way grief can linger, catching anger and guilt in its wake

While the tension of the build up to the initial disaster on the submarine is well-handled, Vinterberg struggles to dovetail that with his other plot lines.

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

Its refusal to treat fights as spectacle, together with its austere editing and static camera, provides a melancholic grounding.

A beautiful film about family, connecting with others and finding the meaning in life.

How much it appeals to you will depend on how you relate to its lead characters - but despite its focus on their ethnicity, there may be bigger cultural barriers for many viewers to get past.

Mészáros seems to knows his stuff when it comes to art, and has shaped a clever reflection of his rococo painter's theme.

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

Lace Crater shows no more respect for genre than it does for the (meta)physics of ghost sex, and this is one of its strengths.

A fairytale love story dressed up for the modern age.

As with so much of Russell's work, the film is let down by atrocious editing and tries to excuse its own failures with a desperate humour that only sometimes works.

Though unrelentingly bleak, Last Exit to Brooklyn presents a fascinating slice of American history.

There's a proper sense of adventure and the scale of the story is appropriate for a great legend. Unfortunately the sword it all revolves around looks as if it came from Poundstretcher.

Mann creates a perfect balance of action and mood.

A rather dull action Western.

Much of the impact of the film comes from cues, visual and aural, away from the action.

The audience has to let go to. It's the only way.

A must-have for crime drama junkies.

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

It ranks in the higher echelons of the second division for the quality of its animation and vocal support

Robert Carlyle's directorial debut adapts Douglas Lindsay's novel detailing the life and crimes of Barney Thomson with real panache and wit.

A nightmare in a damaged brain, using an imagination no more, nor less, disturbed than our own.

The impression it is gives is that absolutely everything recorded has been included, with nothing left on the cutting room floor.

Drifts dangerously close to irrelevance.

Considering the massive cast of characters and overlapping plotlines, David Edgar's adaptation is little short of a masterpiece.

Schizophrenic in its approach and vicious in its intent.

The clear highpoint of Lilith is Seberg’s performance which carries the picture along.

Although the pacing is sometimes poor, the sentiment - while occasionally straying towards the sentimental - is heartfelt and sweet spirited.

The film has a genuine sense of grand guignol, the Gothic undercurrent of bloody horror

Spielberg, as he is very good at, goes out on a limb to walk a tightrope of his own making between melodrama and sinewy storytelling.

Potter succeeds here in providing a truly imaginative and artistically inspired piece of television and, while the series eludes the tangible success of his previous work, it embodies some of his best writing and brilliantly creative verve.

As sweet as it is bitter.

Director Baltasar Kormakur’s gripping thriller is inspired by classic noir - the cinematography is as bleak as the story and there is no neat happy ending.

The architecture of the film - and buildings and angles are an integral part of why it works so well - rests upon the twin pillars of Katie Johnson and Alec Guinness.

Loosely assembled from cardboard, string and panache.

Plotless, fluffy, pseudo-sentimental rubbish.

One of the qualities of The Last Seduction is its denial of pastiche.

At times it feels as if Jensen is trying to spin too many plates at once, but in the moments when it all comes together, it’s a delight to watch.

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

Writer/director Lisa Cholodenko dispenses with cliche in favour of genuine characterisation and her script is a paragon of understatement.

Antonioni's direction is subtle and his argument much more than left-wing hand-wringing.

What remains true now, as it was then, is the scale and scope of the thing.