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Everything feels contrived, overblown and - perhaps the worst sin you can lay at the door of a psychological thriller - utterly predictable.

It is a feather in ITV's cap that it was prepared to invest in such a fascinating and thought-provoking script, while managing to keep cliche under wraps.

It’s hard to argue that this is anything but a love-letter.

No defense against a life less lived

Made on just over a million dollars, this remains a hugely impressive first feature.

Has a rare, haunting quality.

That's not beer in the Marky Mark fridge, it's testosterone. And he's going to share it with you.

Funny, sensitive, engaging, and full of real characters whom you can really care about.

The movie also has much to say about this none-too-subtle take on voyeurism, and the nature of unexpurgated creativity uninhibited by copyright.

As an example of comic ideas going to waste, Aussie actor John Polson's directorial debut is a good one.

If you only see one short film this year - make it this one.

If this sounds like a corn fed carbon copy of a Debbie Reynolds standard, it's not

This is so far off the map, it should be funny, but Ledger keeps a straight face and for a moment you might be forgiven for thinking he believes in what he does.

The film dribbles from one disappointment to another, whimpering gently.

The only real mystery, however, is what is this great ensemble cast doing in such a poorly executed movie?

Fails to deliver anything beyond the prodigious letting of blood.

The film builds a historical and literary niche for itself which could be seen as pretentious in the extreme but which is carried by the excellent cast.

Treat it as a live action cartoon, with dramatic pretensions, and you will not be disappointed.

Soldier Blue's intentions are laudable, but the end result is laughable.

Andersson's film offers a dystopian vision of the new millennium, where misery, pain, guilt and despair are the universal condition, where escape is impossible, and where, no matter how much anyone tries to turn their back on the past, somehow it always r

You have never seen a film nosedive as badly.

The oppressive atmosphere of the swamp and the tension between the frustrated alpha males are so thick right up to the final frame you could cut the air with one of their knives, while the trauma of the experience lingers long after the credits roll.

Slovenian punk rocker director, Damjan Kozole has opted for gritty realism at a time when issues of immigration are tight on everyone's lips.

Offered the galaxy screenwriters and animators can't help themselves. They indulge and then overindulge until nothing makes sense anymore

Despite the pantomime nature of the story, a collection of engaging performances really draws the viewer in.

There is slapstick here, but we know Susan has the chops to handle things and we are thankfully never invited to simply 'laugh at the fat girl'.

While satirically entertaining in places it has too many threads competing for attention and ultimately runs out of steam.

This is a documentary full of natural comedy and warmth, but it's also interesting as a take on the filmmaking process.

Kain's finely judged performance is a joy to watch.

There’s more going on than just prejudice, as the well-worn themes of friendship and loyalty are given air to breathe.

We've seen it all before, but the remarkable thing is that The Scorpion King does it well, and does it with such good humour that it is almost impossible to dislike.

September 5 might not be a masterpiece but it is a tense, nail-biting thriller.

A quiet, moving film.

It’s all very handsomely shot, with a feisty soundtrack and ebullient sense of humour, but too often it feels as if it’s just being quirky for the sake of it.

Danny Boyle directs with the right balance of tension and wit, never forgetting that violence begets violence as one thing leads to another.

The creative spark lights no fires in this crib.

George Romero has stated that he loves this film. It's easy to see why.

An instant classic and far too good for children.

Silent Light is a powerful, technically excellent piece of cinema.

While Simon and Laura may predict the reality TV genre, its take on it can't really be called prescient or telling.

Tension leaks over the floor, like blood, until the denouement, which throws everything into the air.

The pace is slow, not that that matters, because Osment is such a compelling actor.

It is the superb acting and tightly plotted scripts that carry you through the mire of raw emotions - clutching your box of Kleenex like a floatation aid.

Very much an ensemble piece, it relies heavily on sight gags and cinema business.

Hidden in this is a competent ninja flick.

Thanks to a great ensemble cast...it gets away with delivering lines of utter absurdity with a deadpan seriousness that in lesser hands would fall flat.

The weight of history lies heavy on the shoulders of these filmmakers.

Charismatic yet nuanced performances from both leads keep the film in balance, and though most of the dialogue is simply conversational, the subtext goes deep.

Something Blue is a wee gem of a film, beautifully shot and directed with remarkable assurance.

Simon Cellan Jones's first feature is an interesting TV drama. Cinematically, however, it leaves much to be desired.