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First names are, of course, never used because they're out-menning the men in every department, including misogynist asides and police brutality - by the end of the runtime you wonder why they bothered casting women at all.

Photographer-turned-director Jake Gavin brings maturity and warmth to his debut feature.

There isn’t anything particularly wrong with the direction, which is solid horror fare, but it’s trying to animate a cadaver of a script.

Hell Night sounds like a good teen slasher flick gone wrong and it looks it.

The sort of film that practically defines the festival experience, but that one could not ever imagine watching in any other context.

Once the story begins to hurtle along towards its conclusion, much of its early cheapness is forgotten.

Predictable and embarrassing, despite a cast that deserves better,

A story this damp should be squeezed before use.

The performance Erivo delivers is the film's greatest asset and makes her a serious contender this awards season, but though she dominates the film, she's not all there is to appreciate here.

You just don't get family movies like this anymore.

It stands out for its failings in a genre where there's some seriously tough competition.

This a film that is peppered with perfect moments, yet the embarrassment of riches in terms of its targets means it also feels quite scattergun at times.

A gem for lovers of great show tunes.

The Hidden Life Of Trees sets out to engineer a paradigm shift in the minds of viewers.

It’s a shame he wasn’t bolder in his use of the canvas of Hilma’s life, opting more for a careful still life approach to her history than the abstract adventurousness she merits.

Most of the filmmaker’s passion, wisdom and wits is packed in the first half, while the second half represents pure “production” of content.

An unflinching indictment of the savagery at the heart of the American dream.

Hold Me Tight [has] the sensorial acuteness to abduct us straight to the place where, providentially or not, poignant life decisions are being forged and the creations of new realities begin when the world around seems to collapse.

The real candy is the omnipresent densely uncomfortable atmosphere that comes on top of the richly detailed observations and conclusions in the film's lower layers.

To be honest, this is worse than embarrassing. To be kind, pop music and moviemaking are separate art forms, requiring peculiar talents that do not necessarily coexist.

There’s a genuine unpredictability to Honey Bunch, both structurally and thematically.

Sound fades into nothing and the pace slows

Formulaic but exuberant, packed with quirky humour and very difficult not to like.

An interesting example of technically inventive pastiche.

Gibson effortlessly resumes the back-talking bad-ass of Riggs and Porter with self-assured aplomb

A polished, handsomely produced piece of work delivered with real confidence.

While Louis-Seize’s treatment of the night is atmospheric, the emphasis here is firmly on comedy rather on gore.

Although the acting here is uniformly good, both Schreiber and Tomei struggle to bring much life to characters whose encounters with struggle come so late in life that they seem singularly unengaged with the world.

Six's meta-sequel seems calibrated to make those torture porn devotees let Sadly, neither Six's ideas or execution are enough to make the climactic orgy of suffering anything other than boring and unbelievable.

Breathtaking and heartbreaking

Comparisons only categorise originality and this one stands alone.

As Martin walks to and fro from urban settings to the Edenic countryside, Weingartner's film also seems to meander, and to drift a little too close to the sentimental – until a twist comes that forces the viewer to re-evaluate everything that has gone bef

The struggle which follows is, in places, difficult to watch, especially for viewers who have been affected by such issues in their own lives, so Heimann sensibly leavens it with humour.

Increasingly unsettling, darkly comic.

In the literal act of performance there is room to talk about self as performance, and that is where High-Rise is strongest.

Hitchcock/Truffaut has the intriguing aura of a first episode with all the questions answered easily producing 500 more to be asked.

For Hult, home is a place where you can be yourself and where you'll always be welcome, no change required.

Young love has no currency compared to dirty currency and freedom is a dream rather than a promise.

While The Horseman will have viewers squirming in their seats, its take on the workings of vengeance is remarkably responsible.

Entertaining as blackly comic drama.

There’s really no excuse for producing such a visually insipid film.

If you're looking for a double entendre, then Howerd will certainly give you one, but it's not enough make up for the plodding script.

The writers are crafty enough to stick to a formula yet still keep things fresh, with the 'central' diagnosis often kept very much on the fringes, so that the relationships within the story are allowed free reign.

Bent copper. Check. A liking for the charlie. Check. Shady gangsters operating out of shady strip clubs. Check.

Everything is wreathed in snow and the crisp air seems to make the stark absence of clues even crueller,.

One film can change the world. This almost does.

Immortals could and should have been so much more.

You will no doubt need to see Inception more than once to appreciate every nuance of Nolan's carefully balanced ambiguities – but, more importantly, you will also want to.

Imagery and sound are so closely wedded throughout that at times it seems meaningless to distinguish between the two.

For the most part this is a lyrical and lightly handled odd couple road movie that achieves a subtle resonance, although it is almost scuppered by a sudden major tonal shift in the film's final act.