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Well-written dialogue, strong acting all round and unobtrusive but taut direction give it real strength.

Honestly, the full import of all this was lost on me, but since writer/director Mark Steven Johnson seems similarly confused about the whole deal, let's just call it even.

There’s nothing particularly radical about what Soderbergh is doing here.

It struck me how well Slattery handles the shifts in tone from hard boiled to hilarious throughout.

The standout performance in Goldfish Memory comes from Flora Montgomery, winner of the Monte Carlo film festival's Best Actress award.

Child childs will love it

The verbal humour stands test of time a lot better than you might expect.

The trouble is, we'll never really know whether this is truly an authentic window into the rent boys' world, or rather, a window into how they want you to view it.

Overall, Guardians of the Galaxy is good fun.

What rescues A Guide To Recognizing Your Saints from bland conventionality is Montiel's bravura approach to direction.

The story lacks originality

By this point in his career, Ken Branagh had found his voice and a set of skills to match his confidence.

It might not be designed to win any of this season's awards or linger in the memory, but this is a hell of a lot more fun than other recent fairy-tale reboots.

Ty Glaser, who looks like Sally Hawkins dipped in Footballers Wives, purrs along with devilish charm and Adrian Bower is superbly brutish.

It is jaw-droppingly funny, but also somewhat perplexing.

Haunter is unusual in that it lays its cards on the table early, while Breslin conveys real fear in the face of supernatural goings on.

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.

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.

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.

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.

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.

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.

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