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It's not the action or the tension that makes this film important; it's its position at a point of historic and cinematic flux.

Why parody the self-parodying?

An intelligently wrought and visually textured thriller.

The quality of the writing, editing, cinematography and everything else is top-notch, but it’s undoubtedly a bleak, hard watch.

Cushing delivers his lines with a clipped precision that brings absolute conviction to the role.

Though the drama is crudely drawn with familiar Hammer strokes, this is a film that benefits from both tight scripting and a willingness to push boundaries.

Rachel Talalay’s attempts to give Freddy’s Dead a darker, grittier edge are lost beneath the clownish Freddy shenanigans and ridiculous death scenes.

Ivay handles drug scenes with the same level of acuity and confidence seen in classics like Trainspotting and Withnail And I.

While his narrative is over-written, Lew has an unfussy and measured directing style that offers promise.

Butchers the memory of the Eighties horror classic as brutally as any of its victims.

There is nothing new under the full moon. Frostbite has the advantage of enthusiasm, naivety and youth.

As a feelbad movie, Frozen Land remains faithful to its message that without money you're a four-letter word and without love loneliness will kill you.

There is no reason why this should not be a hoot, but nothing is followed through, as if the writers are desperate to fit everything in before the sentimental finale.

It's nice to see that someone has been paying attention in Film Studies.

Michael Douglas is electrifying.

It's Mr. Mom all over again.

Portman captures something so rare that it defies description.

Carter has become one of Caine's most memorable performances in a long career.

Far less conventional than the first film, and less accessible with it, The Girl Who Played With Fire is nevertheless strangely compelling.

Illusions are everywhere in this film.

David Scarpa’s screenplay wisely keeps the political machinations on a slow simmer, so that they are easily followed and don’t get in the way of the nicely worked set-pieces Scott has in store.

The humour is fast, the car chases hairy, the characters way wicked, the venues seedy, the fun accident prone, the sex tantric and the chance of living until tomorrow slim.

Director Júlia De Paz Solvas shows the effect a violent and manipulative father can have on others without giving him the centrestage attention he would crave – notably we never even hear his name.

If you watch one western in your lifetime, make it The Good, The Bad And The Ugly.

Spall commits himself fully to the role.

In places, dark humour seeps into the film like the rot around the hotel windows.

Dismal.

A fascinating and mature ensemble piece

Well-written dialogue, strong acting all round and unobtrusive but taut direction give it real strength.

The UN describes Haiti as the most dangerous place on earth and this haunting documentary shows us why.

Honestly, the full import of all this was lost on me, but since writer/director Mark Steven Johnson seems similarly confused about the whole deal, let's just call it even.

There’s nothing particularly radical about what Soderbergh is doing here.

Vanessa Paradis conveys the instinct and desire of the child woman with flirtatious innocence.

The script follows such a well-trodden route, it's nothing more than backdrop for the next breathy ballad.

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

The standout performance in Goldfish Memory comes from Flora Montgomery, winner of the Monte Carlo film festival's Best Actress award.

Child childs will love it

The verbal humour stands test of time a lot better than you might expect.

Fehu, in a careful balancing of tone, ensures that Pepa's situation remains tragicomic to the last, rather than merely exploiting him for cheap laughs.

The trouble is, we'll never really know whether this is truly an authentic window into the rent boys' world, or rather, a window into how they want you to view it.

Litja... gives his character a sincerity and clarity of purpose that keeps us with him even when situations become ridiculous.

Overall, Guardians of the Galaxy is good fun.

What rescues A Guide To Recognizing Your Saints from bland conventionality is Montiel's bravura approach to direction.

The story lacks originality

By this point in his career, Ken Branagh had found his voice and a set of skills to match his confidence.

It might not be designed to win any of this season's awards or linger in the memory, but this is a hell of a lot more fun than other recent fairy-tale reboots.

Ty Glaser, who looks like Sally Hawkins dipped in Footballers Wives, purrs along with devilish charm and Adrian Bower is superbly brutish.

It is jaw-droppingly funny, but also somewhat perplexing.

Haunter is unusual in that it lays its cards on the table early, while Breslin conveys real fear in the face of supernatural goings on.