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If it wasn't for Neeson, this would have yawned itself into unconsciousness.

Alberdi keeps the tone light and profound simultaneously.

Marc Silver’s film is refreshingly alert to the nuances of the issue.

Berry is open to the wounds of a role that stretches her beyond anything she has done before.

Pixar cares enough to choose the best scriptwriters, the best voice talent, the most innovative animators.

It's not that the new crowd aren't fun, but they're a distraction from those of us who would prefer to spend more time with the best buddy double-act in the Pixar universe.

This is impressionistic filmmaking and the young director handles it with extraordinary confidence.

Shot in squared off 1.85:1 ratio – except for a handful of ‘world expanding’ moments – the choice is fitting for the intensity of the children’s gaze.

There are moments when the principal characters manage to lift the film, but these are few and far between.

It’s really Lee’s performance which gives the film its soul.

Surprisingly close to the spirit of the original.

Those who are allergic to Muppetry will find it difficult not to enjoy this and those who used to love them can do so again.

This is another downward spiralling character piece with the same bruising toughness of its predecessor, but handled with a tauter, darkly playful control.

It's not so much kitchen sink, as tenement trauma.

The stakes feel higher and the possibilities more open because we see much of it from a child’s point of view.

All four actresses are excellent; forever chewing gum, Bartsch in particular is superb.

Packing a late-stage twist which unbalances everything that has gone before, Mona Lisa is a thriller that will really keep you guessing.

In its gentle, meandering way, this show can be highly addictive to the pre-tweenie market.

No quickie run-through of plot pointers can do justice to the exquisite look of The Mother.

In the end, it is a question of taste. Either this is Capra refried, or Sandler on toast.

None of the events hold the slightest iota of interest.

If those were the days, boy, they moved slow.

A warm and witty tribute to man's best friend and an odd couple love story.

Testing a family for breaking points within a comic framework is not exactly new territory, but Watt's scripting is sharp and she plays fast and loose with audience expectation in the cliche department.

It's often the lowbrow humour that's the most entertaining.

Succeeds in grabbing your attention but doesn't really deliver what it seems to promise.

Has all the ingredients of a fun Friday night out.

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

Documentary this may be, but it's very much in horror movie territory, and filmed as such.

Reichardt observes the game coolly, yet provides more than enough detail to show the contradictions in her players' gambits.

More than 60 years after its initial release as a critical and commercial flop, The Night of the Hunter remains a brilliant oddity without equal.

Ultimately, this morally ambiguous curiosity has too much chill and not enough thrill.

Those members of the audience over the age of ten may find themselves a little undiverted

A good story that is well-scripted and solidly told and acted.

Krymskiy is excellent, not least because he also carries off the violin playing after just 12 weeks of lessons.

Jim Isaacs's creatures are remarkable, as is the film - unique, disturbing, wicked.

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

Although Lince is consistently good and Ford generally holds her own, the film tends to meander where it should be making more of this.

'Pedestrian' is too racy a word to describe it.

The humour and emotion are so sharp you might not feel them at the time, but Mullan's film cuts deep and leaves its mark.

Savvy viewers may guess where this is all going, but Curry doesn't push the emotions or the pace despite showing a decent passage of time.

Simpson has a particularly good eye for landscape and colour.

Finch has great fun imagining his way into the kind of passionate, dogmatic and slightly unhinged character who has only latterly begun to succeed in the industry in real life.

Scriptwriter Daniel Kehlmann has tailored the role to fit the star like a sharp suit.

The camera in Dominik György's film is never still, tight within this small space to faces and hands, the tremble of finger and lip.

Nickel Boys is a tremendously daring film.

Probably the finest hour-and-a-half of director Sidney Hayers' long and generally undistinguished career,

The underlying formula is a simple one but the chaos around it is managed magnificently so that you can never be sure what will happen next.

What worked so well in The Rider, namely that people were playing versions of themselves, falls flat because of the casting of McDormand in the lead.

In Assayas's smashingly sad comedy of manners, shoes drop left and right.