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Part of the charm of Devil Girl From Mars is how seriously the movie takes itself.

There's a fair helping of gore at the end, but not much else.

Unexpectedly playful given the weight of the subject

Leuenberger makes Nora's gradual awakening to gender issues feel like the sun coming out on a dreary day, brimful of unexpected warmth.

It is the fear of the stigma, the unknown and the misinformation about HIV that Doin’ My Drugs makes its predominant mission to correct - a society where people can be open about their status, and more importantly one where they no longer fear being teste

There’s such a huge story here that it’s astonishing that it hasn’t been put on film before.

Constantly chilling and never less than eerie, this first colour outing for Vlad is undoubtedly the stuff of nightmares.

This film's sharp political observations are as relevant now as they ever were.

A largely conventional thriller about the last-gasp of mission of a die-hard CIA agent that is lent moments of surprising poignancy and glimmers of madness thanks to Nic Cage's performance.

This film's attempt to contextualise a zombie threat as something more deeply political is clumsy at best.

This is a U-rated family film with more tasty stuffing in it than most of the dressed Christmas turkeys that get released at this time of year.

For farce to work well, the plotting needs to be watertight, whereas here the sheer excess of characters fails entirely to cover up this film's flimsy underpinnings.

A sharp, cleverly structured film that deserves to be more widely known.

Hokum and a lamentably OTT ending ruin what had been a pleasingly ponderous piece of pap.

Suture, have avoided every cliche of film noir.

It is impossible to be down on the film when the many songs radiate such wit and style and keep the whole show rolling.

Keaton half-deranged is an improvement on Keaton half funny.

The film delicately and daringly places a specific time and place in history under the microscope.

An energetic, insightful look into the dysfunctional, drug fuelled world of the modern pop musician.

Sng makes no bones about the fact this is a campaigning film, firmly voicing an argument that home ownership is not the main thing we should be striving for - but he does manage to keep a level of political balance.

When those metal monsters take to the screen, it's non-stop fun and extermination.

Tennant’s Doc is less haunted by past events than his predecessor and more of an infectious enthusiast, but there’s no doubting the gobby Scot is very, very likeable.

Mullan, as usual, blends his trademark emotional rawness and understatement of gesture to powerful effect.

A frantic, classic piece, with a sting in the tail.

Geoff's campaign is more interesting as an exploration of his own failings than as the insightful rockumentary it purports to be.

Using handheld camera and naturalistic lighting, director Marius Holst's style might be summarised as Dogme-lite.

Manages to include a whole stack of annoying cliches, stereotypes and habits that it could well do without.

Scriptwriters Nat Mauldin and Larry Levin lack vision to lift the movie out of TV sitcomland.

Durant's Never Closes is unlikely to be a breakthrough film, but where Durant is remembered as a local force to be reckoned with, it will have strong audience appeal.

Dwyer has taken this cinematically uncharted landscape and, like the convict runners of old, transported to it all manner of unsavoury foreign elements.

In the real world of coincidence and logic there has to be meaning in order to contain the terror that naturally arises from unnatural occurances.

This is a comprehensive and uncompromising look at some of the films that still influence many independent filmmakers today.

Rebecca Culverhouse's film is somewhere in a the realm of tableaux vivants, of stereogrammatic .gif sets, of brief moments somewhere around the repeated rustle that Vine left.

Another John Hughes wannabe cuddle bunny of a movie, as sharp as butter fudge.

Scott’s beacon of light is swallowed up by Stone and Beresford’s heavy-handedness.

Where the film shines is in the incidental details, the small observations and asides which contribute to setting the tone.

The proportion of films opening with HP Lovecraft quotes that manage to live up to the visionary writer's work verges on the infinitesimal, but The Endless is one of the special ones.

There are just enough events to keep things interesting without distracting from the fact that it's really the sameness of things that is behind the character interactions we see.

While it's hard to say that Fabricius's film is completely fresh, it is undoubtedly up-to-date and effective.

Finney adds definite class to Roberts high octane performance.

Degenerates into a haphazard mish-mash of special effects, action set pieces and largely pointless cameos.

It showcases Spielberg's gifts for light comedy, spectacle, and fairy tale celuloid sorcery.

There isn't a massive amount of 'action' per say, but Apted's expertly-paced tale throbs with genuine suspense as the net progressively closes in on Guy.

You are never sure what is actually happening, what is real and what is pretending to be real.

A breezy, captivating and balanced tale of a studio whose rise and fall is perhaps the only story actually more bizarre than the plots of the films that came out of it.

Elegy is well acted by both the lead and the supporting actors, which helps in carrying the emotional load of the film forward.

Dangerously thin on purpose