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Unfolding without tension or logic, Untraceable doesn’t miss a derivative beat.

An ambitious premise that only just falls short of genius.

Singer and McQuarrie expertly sustain a rich and tantalising conceit, keeping the reader guessing to a superb climax – and beyond.

There’s a good deal of depth and nuance to these relationships as Blichfeldt uses them to illustrate how a society which makes women dependent on men magnifies every petty disagreement and sets them at odds with one another.

For a feelgood movie, the hives are stacked against it.

Despite its dense plot, the story is as predictable as the route back to Creekville and it is testimony to Bettany and Lillis that Ball gets as much mileage out of it as he does.

Goes down easily, like a house red.

There is layer upon layer of trickery at work here, unspooled in a farcical manner which will delight some viewers and infuriate others.

Maintains a fierce and continuous tension... like mainlining adrenaline.

Multiverses have become a box office staple lately, courtesy of Marvel and the like, but they are rarely as elegantly mounted as this retro and twisty little mystery from Timm Kröger.

It is at times meandering and not a little mawkish, but its vivid primary colours conceal a great deal of shaded nuance.

A film that from its outset immerses you totally in the world of city Alpha, as well as the humans and aliens that throng its crowded streets.

O'Toole is simply remarkable. He reinvents himself once again, stealing the breath away with his learned quicksilver wit and charisma.

If this sounds bad enough to be entertaining, that's true in places, but for most of the running time there's nothing to watch except a group of people sitting around bitching at each other.

Jacquot's film does not pander to the young or inexperienced and requires the viewer to read between the lines.

Brazilian singer-songwriter-turned-politician Gilberto Gil may be taking a "musical voyage" around the indigenous populations of Australia, Africa and his homeland but documentarian Pierre-Yves Borgeaud is all at sea when it comes to making his point.

Though it’s a bit stagey in places, the film...hits on something meaningful in the way that it uses 18th Century social conventions to address to the discomfort and hypocrisy of a subsequent age.

The film takes time to gather pace and discover its true direction. Once there, the story takes hold and won’t let go.

Venus is delightful. Gentle. Lyrical. Funny.

Daring, and well ahead of its time.

Nothing else has captured quite so succinctly the dynamics of the information revolution or its impact on what it means to be human.

A painstakingly curated trailer reel that pays affectionate if sometimes wry tribute to a bygone chapter in the history of genre cinema.

When the film isn’t being didactic, there’s some good dialogue here.

Kjersti Helen Rasmussen's short film is grown up science fiction, quietly logical.

There is a fairytale vibe to proceedings, enhanced by the snow through which he trudges in the parks.

Fox succeeds in showing us much of the best and worst of modern Israel.

Another touching tale of a boy and his elephant laced with corruption, conspiracy and ultraviolence.

A good yarn well paced and well made.

The concept is fruitcake flimsy, decorated with sweet nothings and garlanded with small talk that would make Bridget Jones cringe.

It is thoroughly endearing: a Jane Austen for modern times, exploring women and friendship in a way we rarely get to see on screen.

The dialogue is sparse and when the characters do speak, it's clunkily written, laden with insipid profundities, and often badly delivered.

This fine array of actors is charged with safeguarding a plot as weak and confused as a newborn kitten.

A straightforward, by-the-numbers sports movie designed to boost Kleenex sales.

By keeping the plot simple, the characters are allowed to find their voices and flourish.

hat is surprising is that Roddy Doyle wrote the script. He must have been having one of those days.

And while horror fans expecting gore and outrage may leave disappointed, those who like a decent ghost yarn and have a soft-spot for flares are in for a guilty pleasure.

John Mackenzie, who made the neo-classic Brit mobster movie, The Long Good Friday, 21 years ago, directs with a similar degree of commitment.

Certainly not as influential nor provocative as Lang’s very best work, While The City Sleeps is nevertheless a very good slice of Fifties noir.

This is Woody Allen territory, except not as funny

This particular malt is a wee charmer in its own right.

It's the sense of claustrophobia, and the tension emanating from it, which are key to the film's success.

A fit, tanned Daltrey gyrates from side to side, still full of verve and youthful swagger.

[The new footage] doesn’t severely blunt, and in some other cases enhances, the impact of a film that yields more with every viewing.

It may be derivative, it may contain one too many clichés but nevertheless, the film is dynamic, energetic, amusing and clever.

It makes a nice change to see a low budget British flick actually making a fist of it.

John Woo specialises in the spectacle of violent death and, after a while, this becomes monotonous.

It might be a tough watch that'll put many off early doors, but this is still top-notch television.

Nothing can save the film from blandness, or disguise a tiresome, silly plot.

Australia's finest horror film in years.

Succeeds in a way that rips your guts out.