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There are some nice set pieces here and there but, like the air on Terra, everything feels stodgier than normal.

The Big Blue is pure cinéma du look.

Densely packed as this film is, only so much can be squeezed into an hour and 47 minutes. Menkes succeeds, however, in delivering a pretty thorough primer.

Certainly not a film for the masses.

Certain Women is a film suffused in uncertainties.

New York in the Eighties contributes some of the film’s iconic imagery, but it’s Santo Loquasto’s costumes that are perhaps the most memorable element.

The film's strongest suit is, somewhat surprisingly, its rich vein of gallows humour.

There’s a sweet-hearted but dated dad rock quality to this tale.

Some of the plot twists strain believability but Ross has a tight hold of the film's emotional drivers, mixing moods like a heady and dangerous cocktail so that a disturbing tension builds.

Ashby's daughter Leigh MacManus is one of the few contributors to offer an off-set perspective of the man - and it comes with a poignancy and beat of heartfelt truth that is lacking elsewhere.

Despite its conventional approach, Adrion’s doc reveals itself to be a comprehensive and important study

Murder is more satisfying than sex

The Pates use flashback, like postcards from the pit, exploring aspects of character that contradict and expose.

The most enjoyable aspects of Maya Dardel lie away from its pseudy centre.

The Moment’s biggest misstep is making Charli’s defining feature indecisive flightiness.

Excitement shivers through each scene with quirky, individual peculiarity.

Perry overplays the scared innocent to the point of no return, while Willis coasts in his support role.