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Otero, who is in almost every scene, carries the film with her fresh and naturalistic performance, which is perfectly complemented by Solaguren’s impressionistic style.

The long wordless opening of 2001 remains one of the most beautiful sequences on film.

Mangold’s version proceeds far too quickly to a ludicrous, logic-defying shoot out.

Denis declines to make concessions, she’s willing to show, refuses to tell.

The 7th Dimension is a terrific hoot at times. Shame it never wanted to be.

Abominable provides spectacle but fails to satisfy at a narrative level.

Charm' is just one of the words, and others like 'winsome' are right there - it manages this without ever feeling forced, without ever feeling twee - and that makes it a triumph.

The film is completely unabashed and utterly committed to delivering on its promise of adventure.

One doesn't need to be religious to find something ineffable not just in the music itself but in the way it is expressed.

A beautifully drawn portrait of a complex situation that doesn't resort to the usual empty assumptions that nothing like this can ever work.

Any film that has both a fight director and a dance choreographer is probably doing something right.

Both young actors are impressive here, fully invested in their roles.

While it's enjoyable, even affecting in places, it's heavy handed and clumsy in others.

All fur coat and no knickers.

A quietly enjoyable film with a sense of the old-fashioned about it and a few bursts of humour to cut through the air of melancholy and suspicion.

If they sometimes have trouble moving seamlessly between the smaller dramas of childhood and the bigger picture of the protests, each element of the film carries resonance in its own right.

Worth watching for the performances, Beautiful Blue Eyes still feels like a bit of a missed opportunity.

As with most of Fassbinder's work it is very much an acquired taste, requiring that one accept the notion of film as something more than just entertainment, as a tool to make one think.

Craine puts a lot of passion into her performance, making for a gutsy lead we can keep rooting for even when other aspects of the film are weak.

That the skies are Glaswegian grey does not make the eyes below them any less starry, or watery, nor does that overcast overshadow the microcosm below.

Viewers can expect to find their sympathies shifting over time, and to disagree as to who deserves sympathy in any given moment.

This is a fantastic chance to see some of the industry's greatest talents at the top of their game.

The Breed is The Descent on an island (10,000 leagues less thrilling).

Harris drinks deep of the novella's sapphic themes to present a tale of obsession and fear of 'the other' but though the end result is well turned out in terms of look and performance, it could use a little less corseting and a lot more bite.

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

What's of interest here -aside from the physics itself - is the effect of the journey on the psychology of those involved.

The reason Branagh's adaptation of the Charles Perrault tale is a success, is that it sticks fully to the formula of the story and doesn't try to do anything irritatingly postmodern with it.

Although hardly enjoyable, his films are never dull.

A refreshing change from all the hacked and mangled body parts that seem to be the only requirement for a horror film these days.

While offering some notion of Beckett’s feelings towards key people in his life, his works feel very underrepresented.

Despite the somewhat formulaic plot - the twist and turns are what you would expect and where you would expect them - the pacing of the narrative makes Dark Winds very watchable.

The comedy dries up from around the middle of the film.

Moreno isn’t shy about his use of symbolism...What this effects to disguise, however, is the degree to which [the men's] own thinking has been shaped by symbols and by the belief system which surrounds them.

A rich tapestry, which delves into how our reminiscences work.

A character-focused drama in a setting usually reserved for adventure, The Dreadful finds elements of horror in the psychological landscape.

This film just flounders from one uninspired location to the next, with set-pieces that could be interesting were they not handled in such a ham-fisted fashion.

Before getting excited, remember the title. Nothing is as it seems and nothing makes sense.

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

It's difficult to make an epic film on a small budget and even Scott's striking talent is never quite able to keep pace with his ambition.

Sadly a misfire from the Troma canon.

Morina generates a similar atmosphere to that of the films of Ruben Östlund, prying at the cracks in the male psyche.

Eisenstein is embodied by the fabulous Elmer Bäck, who gallops at the role in the way Liberace might have plunged into a haberdashers.

An enjoyably quirky, thought provoking and, above all, thoroughly cinematic experience.

The dialogue is irreverent and sharp like a raven's claw.

Fassbinder's camerawork is nothing short of masterful.

Made on a very small budget but getting away with it remarkably well, the film succeeds in challenging some popular assumptions about women who seek to become internet celebrities.