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It's beautifully produced, looking really polished for its tiny budget.

What would have made an entertaining, if experimental, 20-minute short film has here been extended beyond sanity.

Meticulously planned and executed, it pioneers a number of important cinematic techniques.

James Vaughan is a charisma-free zone as the Captain, his jaw just not square enough to fit the part.

A horrifying, endearing, contradictory, moving masterpiece.

Cargo gets scuppered by its serpentine story, which is more confusing than compelling.

However much he was required to pinch his own pennies, Spencer has elaborated a story so richly overdetermined that viewers cannot help but become disoriented by all the questions raised and unanswered.

An affirming story of an escape from violence.

This is not an erotic movie, true there are copious scenes of copulation... but Brass doesn't linger on them long enough for them to become titillating, he has to show something gross and/or bloody in the same scene.

It belongs on the big screen, to a world of cinematic sensation beyond lightweight blockbusters and under-financed independents.

McCall draws on Cardiff's life-long love of painting to adopt a similarly impressionistic style, brushing broad sweeps of anecdote and recollection about the cameraman on to his canvas to create a complex and emotionally engaging picture.

Moral questions hang heavy in the air about whether ends can justify means and Loushy and Sivan ensure the soldiers' experience is kept front and centre.

There's something bittersweet about it, differently so than Up.

Harvey leaves enough questions unanswered in this twilight zone to ensure that Carnival Of Souls enjoys a haunting afterlife in the viewer's mind.

The Cars That Ate Paris is no ordinary horror film.

Essentially a love story, Casablanca is darker than a camel's eyeball.

It’s astonishing to realise that this is Reis’ first screen role.

Straczynski's script is a masterpiece of understatement and restraint, and Angelina Jolie is riveting in the central role.

When the moment of violence arrives, abruptly, at the half-way point, it does so in flurry of handheld camerawork, striking sound design and stark symbolism.

Smith crafts a movie that is more polished and - arguably - more mature than his previous efforts.

It’s really Kurylenko's work that gives the film its emotional core, but action fans need not worry: she still delivers some impressive kicks, and gets to jump away from a petrol explosion.

This is a film that takes no prisoners. It will live long in the memory.

The character is more sentimental, than exacting.

Manages to impress through nifty direction on a relatively low budget, slow-burning performances from promising newcomers and a thoughtful, perceptive script.

While it's got some quirks it's relatively inoffensive, and if it feels like damning it with faint praise to say it's got nothing drastically wrong with it then fair enough.

Rather than watching Sam from a distance, with curiosity, we are very much aligned with him, experiencing the world as he does, noticing the things that don’t make sense about other people.

Even the ending, which otherwise would be dismissed as inconclusive, feels valid and true, emphasising yet again the magic that is Mann.

Palka’s touch is visible in the characters, who have a little more depth than is usual in such tales.

Rarely has any actor immersed himself so completely in a role.

While the film's more nostalgic elements are likely to help to keep adults on board it is also invigorated, not only by Goodhill's unorthodox approach to the works but also by the diverse casting.

It's a happy, celebratory sort of musical without a villain.

The world Dylan and the others inhabit...feels properly lived in.

Constantine is best enjoyed by ignoring the Milton-centric mythology and surrendering to the movie's lush atmosphere and wicked performances.

Captivating and informative.

How it feels to take credit for something you haven’t done is one of the questions Coup! invites us to contemplate.

Like its predecessor, this film relies heavily on fast-firing jokes with easy punchlines. Supported by the quirky animation, these are a lot of fun, but older viewers may quickly find themselves feeling worn out.

Its Jurassic Park style themes concerning failed Utopias passed through the prism of Sixties politics and activism have a certain childlike simplicity to them and, as such, are likely to prove more endearing to some audiences than others.

Sautet's film offers an interesting snapshot of shifting sands in the Seventies sexual revolution.

The anatomy of CSI remains hale and healthy and is, in the ninth season of the show, arguably strengthened by the loss of old characters and the introduction of new ones.

Everything hinges on Blane's performance. Open and emotional and in-your-face as it is, there's more depth there than first meets the eye.

This ambitious feature debut is packed with interesting ideas.

The sensitivity of Lee’s performance helps to draw out the ambiguities in Shelley’s work, and the moral complexities which, acknowledged or not, are a critical component of the story’s staying power.

There has simply never been a better Cyrano than Peter Dinklage.

It may be full of wonders, but The Celestine Prophecy is untouched by the miracle of good humour.

"At the heart of the kingdom there is nothing," it says, but all the fascinating splendour that exists around that gap!