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Reisner is a real find as the young star and Siimetsis gets a performance from her that has a summer's day brightness to it.

If you don’t have a clear sense of who she is when you go in, you may come out feeling none the wiser.

In retrospect, Local Hero can be seen as a high point for all concerned.

For exuberance, inventiveness and gut-spilling humour, Guy Ritchie's debut takes some beating.

The film is full of daft but unforgettable moments.

Crumbles under it's own epic intentions and lack of cohesion.

Long Distance Information depicts that phone call so well, the stilted awkwardness as you ask about things you don't care about.

The film feels obliged to explain itself, indulging the audience too much.

Where it would have been easy to soften Lore, Shortland refuses to get sentimental, keeping us hanging on the edge with her as events grow more traumatic.

The film comes into its own because of Gyllenhaal's non-judgemental perspective, even sympathy, for the small suffocations of motherhood.

This sweet animation - firmly aimed towards the younger end of the market - is warm and nostalgic as its Fifties Italian setting implies.

It's the pace of the film that wins the day.

An occasionally agreeable whiff of fromage isn't enough to excuse such amateurish film-making.

Max Ophuls' most controversial, if not his greatest work.

Kleinert pushes beyond the structural stuff, creating subtle and shifting dynamics between the characters, and introducing a supernatural threat lurking in the woods.

A heart-warming story with a dash of religion, a smidgen of romance and a lot of adventure.

The harrowing latter half of the film could easily have become alienating, but Seyfried makes it compelling.

It looks as depressing as it feels.

Interesting ideas lurk, tantalisingly, underneath the romcom formula and yet every brave move Zwick and his co-writers make is countered by something weak and formulaic, as if in apology.

There is no dull speaker, and director Simon Ennis deftly illustrates the subjects with well-chosen archive footage.

A taut chiller, skillfully shifting audience sympathies.

A decidedly postmodern piece that nevertheless retains an emotional punch thanks to the sterling efforts of its two leads.

Described in this film as the "patron saint of independent filmmakers" and with his work marked by ambition and a desire to push boundaries, it's a shame that this documentary about Orson Welles by Chuck Workman is, well, so workman-like.

The script (Steve Galluccio, Emile Gaudreault)... is sporadically funny, although lacks bite, and there are too many safe options.

The premise pushes its luck in the street cred dept.

It doesn't have to be such a cliché, and Billy Connolly tries his damnedest to stop it, but the little guy versus the big corporation is as old as banana in your ear jokes.

Taken as a whole, this makes a fine and entertaining six hours of viewing.

Doesn't disappoint.

Fails to do anything that hasn’t been done before or better.

The bravery of immigrants, many of whom had take one-way tickets from the Old World and abandoned everything they knew in pursuit of a dream, is rightly celebrated here, but the film has a streak of naivety that distorts the story.

There is no escaping the weightiness of the subject matter and Movermann treats it with the necessary respect, but he also shows evidence of a lighter touch, which helps to alleviate the pathos and prevents the film sliding into melodrama.

Noelle's transformation from mouse to maniac is also hard to swallow, even with Eastwood's hard sell.

The production is flawless and the acting a joy. It

If The Midnight Meat Train starts with what sounds like a bog-standard serial killer premise, it quickly deviates into more uncharted terrains.

It is exciting, sentimental, fast moving and utter twaddle.

It is the duality in the myth that makes Milius so fascinating, regardless of what you think of his politics.

A series that maintained its quality to the very last.

By treating the script intelligently, De Palma is following Kubrick's example.

The sex scene, like so much else in this film, is faintly ludicrous.

Director Celia Rowlson-Hall, a dancer and choreographer, is able to make visible through movement what harms the soul.

It is commendable that Gerard Butler, director Marc Foster and writer Jason Keller have tried to bring the issue of child soldiers to as wide an audience as possible - but though its heart may be in the right place, it never finds a steady rhythm.

The John Ford cliches clang against the Sergio Leone sloppy seconds with the hollow ring of a church bell.

In telling the story of a man hitherto forgotten by history, director Brian Vincent captures a side of that celebrated scene never seen before, putting all the rest in context and exploring the nature of fame from an unusual perspective.

The direction is workmanlike but well edited.

The Maltese Falcon provides us with one of the earliest, and undoubtedly one of the best, examples of Hollywood Noir.

Cox's Hannibal is a masterclass in moderation.

As a rookie director, he lacks visual flair and tends to hug clichés for safety's sake.

Has a dark, post-Apocalyptic feel to it, with a vibrant artistic life.

This is the kind of film that could easily be a disaster, but despite obvious budgetary limitations it acquits itself well.