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From a technical standpoint, Vaughn and the cinematographer Ben Davies outdo themselves.

Condon lightens the academic atmosphere with an entertaining montage of interview sessions.

It all feels too professional, too clean, too choreographed.

We don't see the much of the immediate aftermath of death here, but instead are treated to the way grief can linger, catching anger and guilt in its wake

While the tension of the build up to the initial disaster on the submarine is well-handled, Vinterberg struggles to dovetail that with his other plot lines.

Although there are no truly outstanding performances, neither are there any weak ones in what is essentially an ensemble piece.

Its refusal to treat fights as spectacle, together with its austere editing and static camera, provides a melancholic grounding.

A beautiful film about family, connecting with others and finding the meaning in life.

How much it appeals to you will depend on how you relate to its lead characters - but despite its focus on their ethnicity, there may be bigger cultural barriers for many viewers to get past.

I enjoyed this film for its bittersweet realness and comedic situations.

Lace Crater shows no more respect for genre than it does for the (meta)physics of ghost sex, and this is one of its strengths.

As with so much of Russell's work, the film is let down by atrocious editing and tries to excuse its own failures with a desperate humour that only sometimes works.

Though unrelentingly bleak, Last Exit to Brooklyn presents a fascinating slice of American history.

There's a proper sense of adventure and the scale of the story is appropriate for a great legend. Unfortunately the sword it all revolves around looks as if it came from Poundstretcher.

A rather dull action Western.

Much of the impact of the film comes from cues, visual and aural, away from the action.

The audience has to let go to. It's the only way.

A must-have for crime drama junkies.

It ranks in the higher echelons of the second division for the quality of its animation and vocal support

A nightmare in a damaged brain, using an imagination no more, nor less, disturbed than our own.

The impression it is gives is that absolutely everything recorded has been included, with nothing left on the cutting room floor.

Drifts dangerously close to irrelevance.

Schizophrenic in its approach and vicious in its intent.

The clear highpoint of Lilith is Seberg’s performance which carries the picture along.

Although the pacing is sometimes poor, the sentiment - while occasionally straying towards the sentimental - is heartfelt and sweet spirited.

The film has a genuine sense of grand guignol, the Gothic undercurrent of bloody horror

Spielberg, as he is very good at, goes out on a limb to walk a tightrope of his own making between melodrama and sinewy storytelling.

Potter succeeds here in providing a truly imaginative and artistically inspired piece of television and, while the series eludes the tangible success of his previous work, it embodies some of his best writing and brilliantly creative verve.

As sweet as it is bitter.

Director Baltasar Kormakur’s gripping thriller is inspired by classic noir - the cinematography is as bleak as the story and there is no neat happy ending.

The architecture of the film - and buildings and angles are an integral part of why it works so well - rests upon the twin pillars of Katie Johnson and Alec Guinness.

Loosely assembled from cardboard, string and panache.

Plotless, fluffy, pseudo-sentimental rubbish.

One of the qualities of The Last Seduction is its denial of pastiche.

At times it feels as if Jensen is trying to spin too many plates at once, but in the moments when it all comes together, it’s a delight to watch.

What remains true now, as it was then, is the scale and scope of the thing.

The latest piece of gangland roughage is suitably violent, with a who-gives-a-monkeys attitude.

The character-based comedy mostly works as well as it does on the show, but the laboured and frequently infantile storylines make the film fall flat on its face when it's not half way up its own arse.

Well structured and benefiting from appropriately moody cinematography by Sjur Aarthun, the film is ably carried by the German-born von Rittberg.

Damon has a problem playing down-and-outs. He's so clean cut, three days' growth doesn't fool anyone.

Christopher Ecclestone has rarely been better .

It is frequently not what you see but what you hear which holds the horror.

The film is replete with tension, and director Anders Walter incorporates some nerve-racking sequences.

The presence of completists and super-fans is helpful, because you do not need to be either to enjoy Life After Flash.

Director Jon Spira does a surprisingly thorough job, and although he isn’t able to go into depth with much of the material, this is a solid start for those interested in exploring further.

Essentially, what we're getting here is Buzz's origin story, which is all well and good but episodic.

Lem Dobbs's script is chrome-plated - flashy dialogue and a storyline that goes off the rails.

Worthy, without being worth watching.

The Lion In Winter is a film made stunning by the performances of Hepburn and O'Toole. They both thrive on James Goldman's tight script.