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Juraj Lehotský's Blind Loves not only succeeds in describing the world as blind people really experience it but, in so doing, presents the sighted viewer with a fascinating insight into a different way of living.

It is notable that for every slasher trope there also seems to be a giallo one.

Though essentially a familiar monster movie / survival horror story, Blood Glacier is so well put together that it feels fresh and punches well above its weight.

A tender, temperately dramatic look at a young person exploring his burgeoning feelings and adolescent sexuality.

Lawrence doesn't have the style of Will Smith or the manic range of Chris Tucker.

The film succeeds in making us root for the characters rather than simply laugh at them.

This is a first-class production, with lavish sets, sumptuous cinematography and a script that squeezes excitement and humour out of the most mundane opportunities.

Ratner gives her ample room to explain her take on the world.

A mood of barely suppressed violence hangs in the air, like a threat of rabid wildlife.

This is one of the most harrowing documentaries released this year.

Director Terence Fisher thoroughly enjoys himself, his use of vivid colour bringing an extra dimension to the usual doom-laden gloom.

Where Fry succeeds so well is allowing the intrinsic innocence of these brittle butterflies to be exposed without mockery.

It's beautifully produced, looking really polished for its tiny budget.

Meticulously planned and executed, it pioneers a number of important cinematic techniques.

A horrifying, endearing, contradictory, moving masterpiece.

Cargo gets scuppered by its serpentine story, which is more confusing than compelling.

However much he was required to pinch his own pennies, Spencer has elaborated a story so richly overdetermined that viewers cannot help but become disoriented by all the questions raised and unanswered.

An affirming story of an escape from violence.

This is not an erotic movie, true there are copious scenes of copulation... but Brass doesn't linger on them long enough for them to become titillating, he has to show something gross and/or bloody in the same scene.

It belongs on the big screen, to a world of cinematic sensation beyond lightweight blockbusters and under-financed independents.

McCall draws on Cardiff's life-long love of painting to adopt a similarly impressionistic style, brushing broad sweeps of anecdote and recollection about the cameraman on to his canvas to create a complex and emotionally engaging picture.

Moral questions hang heavy in the air about whether ends can justify means and Loushy and Sivan ensure the soldiers' experience is kept front and centre.

There's something bittersweet about it, differently so than Up.

Harvey leaves enough questions unanswered in this twilight zone to ensure that Carnival Of Souls enjoys a haunting afterlife in the viewer's mind.

The Cars That Ate Paris is no ordinary horror film.

Essentially a love story, Casablanca is darker than a camel's eyeball.

It’s astonishing to realise that this is Reis’ first screen role.

Straczynski's script is a masterpiece of understatement and restraint, and Angelina Jolie is riveting in the central role.

When the moment of violence arrives, abruptly, at the half-way point, it does so in flurry of handheld camerawork, striking sound design and stark symbolism.

This is a film that takes no prisoners. It will live long in the memory.

The character is more sentimental, than exacting.

Manages to impress through nifty direction on a relatively low budget, slow-burning performances from promising newcomers and a thoughtful, perceptive script.

While it's got some quirks it's relatively inoffensive, and if it feels like damning it with faint praise to say it's got nothing drastically wrong with it then fair enough.

Rather than watching Sam from a distance, with curiosity, we are very much aligned with him, experiencing the world as he does, noticing the things that don’t make sense about other people.

Even the ending, which otherwise would be dismissed as inconclusive, feels valid and true, emphasising yet again the magic that is Mann.

Rarely has any actor immersed himself so completely in a role.

While the film's more nostalgic elements are likely to help to keep adults on board it is also invigorated, not only by Goodhill's unorthodox approach to the works but also by the diverse casting.

The world Dylan and the others inhabit...feels properly lived in.

Constantine is best enjoyed by ignoring the Milton-centric mythology and surrendering to the movie's lush atmosphere and wicked performances.

Captivating and informative.

How it feels to take credit for something you haven’t done is one of the questions Coup! invites us to contemplate.

Like its predecessor, this film relies heavily on fast-firing jokes with easy punchlines. Supported by the quirky animation, these are a lot of fun, but older viewers may quickly find themselves feeling worn out.

Its Jurassic Park style themes concerning failed Utopias passed through the prism of Sixties politics and activism have a certain childlike simplicity to them and, as such, are likely to prove more endearing to some audiences than others.

The anatomy of CSI remains hale and healthy and is, in the ninth season of the show, arguably strengthened by the loss of old characters and the introduction of new ones.