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For better or worse, Antonioni’s got his master stylist hat on here, even if it sometimes obscures his vision.

Rockwell could have played this role in his sleep but makes as effort nonetheless, and Schwartz holds his own.

Biafra brings real energy and passion to the job, helping to make this a film that’s consistently gripping and never gets dry even when dealing with legal details.

Offers a wealth of engaging detail

A hilarious screwball comedy

That we stick with her through this is down to the magnetism of Kurylenko’s performance.

Levey’s enthusiasm for his subject is infectious.

Kimberly Peirce has taken a newspaper story and given it style.

Creative tension, daring storyline and genuinely unsettling dreadfulness.

With dazzling visual effects and stunning sets, Brazil is a film that you should see on the biggest screen possible.

Breakfast On Pluto's tone is a discomforting mixture of comedy and tragedy.

For all its quality, and there's plenty, it doesn't quite feel a thing complete. Its characters are disobedient, but their film is in part disordered.

Season 4 proves to be difficult, absorbing, dark and of the highest quality of Scandi Crime.

The problem - and it's a massive, elephant in the room style problem - is that it is very hard to tell whether this is a woke film trapped in a judgemental body or vice-versa.

Canon never pauses for breath or allows even a moment for reflection, editing his scenes with a rapid-fire staccato.

The true fault lies with the script, which brings no life to the real, or indeed fantasy, characters.

Occasional vicious violence and brusque language can't disguise the fact that this is at heart a wholesome, feelgood film.

Here comes E.T: The Reboot, disguised as a rom-com.

It’s all incredibly creaky, decidedly low budget and, despite being co-written by Private Eye’s Ian Hislop, all rather toothless and low on chuckles.

Ozon does not smooth over the rough edges and the icy roads stay icy.

This sympathetic and thoughtful portrayal of the many faces of marriage avoids clichés about the good old days as well as the bad ones.

Richard Gere is exceptional.

Unsettles us by exposing our own voyeuristic tendencies and sadomasochistic urges.

As vital as it is virtual.

Serebrennikov's film may be sometimes confusing, sometimes confounding and somewhat disappointing in the neatness of its ending, but there's no denying his talent.

Big Nothing is a very uneven film, whether by intention or design.

The Blacks is observational, not judgemental. It catches your breath.

It's true what they say about violence. Too much and you become immune.

Black Sheep has a certain charm which enables it to keep its one joke going all the way through.

It took popular science fiction into a very dark place but did so with a wit and energy that would make it a longstanding cult favourite.

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

All credibility and tension, manifested during the bulk of the film, is completely robbed at the final hurdle by a ludicrous ending.

Juraj Lehotský's Blind Loves not only succeeds in describing the world as blind people really experience it but, in so doing, presents the sighted viewer with a fascinating insight into a different way of living.

It is notable that for every slasher trope there also seems to be a giallo one.

Though essentially a familiar monster movie / survival horror story, Blood Glacier is so well put together that it feels fresh and punches well above its weight.

A tender, temperately dramatic look at a young person exploring his burgeoning feelings and adolescent sexuality.

Lawrence doesn't have the style of Will Smith or the manic range of Chris Tucker.

The film succeeds in making us root for the characters rather than simply laugh at them.

This is a first-class production, with lavish sets, sumptuous cinematography and a script that squeezes excitement and humour out of the most mundane opportunities.

Ratner gives her ample room to explain her take on the world.

A mood of barely suppressed violence hangs in the air, like a threat of rabid wildlife.

This is one of the most harrowing documentaries released this year.

Director Terence Fisher thoroughly enjoys himself, his use of vivid colour bringing an extra dimension to the usual doom-laden gloom.

Where Fry succeeds so well is allowing the intrinsic innocence of these brittle butterflies to be exposed without mockery.