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There are just enough events to keep things interesting without distracting from the fact that it's really the sameness of things that is behind the character interactions we see.

While it's hard to say that Fabricius's film is completely fresh, it is undoubtedly up-to-date and effective.

There are a lot of nicely observed little details.

Finney adds definite class to Roberts high octane performance.

Degenerates into a haphazard mish-mash of special effects, action set pieces and largely pointless cameos.

It showcases Spielberg's gifts for light comedy, spectacle, and fairy tale celuloid sorcery.

There isn't a massive amount of 'action' per say, but Apted's expertly-paced tale throbs with genuine suspense as the net progressively closes in on Guy.

You are never sure what is actually happening, what is real and what is pretending to be real.

A breezy, captivating and balanced tale of a studio whose rise and fall is perhaps the only story actually more bizarre than the plots of the films that came out of it.

Elegy is well acted by both the lead and the supporting actors, which helps in carrying the emotional load of the film forward.

Dangerously thin on purpose

Despite the cheerful crudity of much of its humour, its jabs at middle class hypocrisy are often as subtle as they are pointed.

A film to be admired more for its vast ambitions than for its actual achievements.

The decision to concentrate on the music is both a blessing and a curse.

I fell asleep several times during the film, but some of it wasn't dreadful, some of it was just bad. Very bad.

Particularly interesting in giving a voice to a generation of people who were children when it happened.

Almereyda jumps straight into the experiment which, over half a century later, is as fascinating and timely and important as ever.

The acting is strong, especialy Ray Winstone, Phil Davis and Steven Waddington.

While the plot admirably avoids cliche, the dialogue hits a few potholes.

For me, and I suspect an entire generation, this is the definitive, almost faultless, take on one of English literature’s most powerful and evocative works.

A piece that is in desperate need of some breathing space.

Geeson is impressive in a role which requires her to show weakness and mental fragility yet still keep viewers identifying with her.

Hoskins is at his best here, controlled and manipulative.

Great action direction and cinematography elevate the film beyond what most viewers will expect of the exploitation genre.

Le Bon’s world is so intimately constructed that it’s easy to be immersed in the present moment, as the characters are, and lose sight of the rest.

It is, of course, Mullan’s film. He brings gravitas and emotional complexity to a story which could easily have collapsed otherwise.

With formal narration which captures the style of the period and similarly distinctive dialogue, the film quickly immerses viewers in its small but volatile world.

Either the Coens have no conception of reality, or the people they write about lost the place half way between there and here.

Grozeva and Valchanov allow a gentle absurdity to flow through the film.

Nvotová doesn’t shy away from torturing her protagonists while the camera lingers on Michal’s and Zuzka's bodies and minds collapsing inward.

The car racing scenes are the best in the history of cinema.

A kaleidoscopic sequence explores questions of identity through some of the trippiest black and white imagery you'll have seen on the big screen for a long time.

Instead of emoting and getting involved we’re left with a sea of questions.

The deaths are gory and elaborate, certainly, and the effects aren’t bad, but it’s nothing new.

Its structure aims for Shakespeare, but is little more than shaky, its dialogue is dire and there is enough ham and wood in the performances to make a perfectly good barbecue.

Max Von Sydow's magnificent Emperor Ming is a template against which all future alien rulers have had to measure up.

This is Foster's film from start to finish.

It doesn’t follow the familiar rules of the revenge movie and doesn’t provide the same type of satisfaction. McIntyre is more interested in finding real solutions.

Ideas of war in the abstract and the tension between the necessity of an action and the action itself will go on to be explored throughout a film that mostly concerns itself with the horrors of war that happen away from the frontline.

This set-up may be a little clumsy, but lively ensemble performances and magnificent production design give the film has a lived-in feeling, a depth and richness which make its excesses much easier to accept

Playful biopic that rips up chronology and frequently tears down the fourth wall so that we’re never sure if we’re going to be the ones looking into the fishbowl of his life or the ones being inspected.

Worth a look for those with interested in the history of exploitation cinema.

Hoblit and Emmerich try to engage the viewers' brains rather than using the set-up as an excuse to crowbar in action scenes at every chance.

Friday The 13th is a well made but fairly unremarkable film. What about it could so incense the white male American critic?

An inventive and superior entry into the zomcom canon.

There is plenty of intriguing historical backdrop to this story, and Chadwick manages to incorporate much of it without losing focus on the very personal subject at the film's centre.

It is refreshing to see a film which refuses to romanticise this subject matter.

A funny, original and often tender début feature from the talented Mr Eklund.