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

Gushes tension and excitement from every pore.

Though it doesn't really go anywhere new, this film provides a solid document of a series of interesting lives, and succeeds in showing that being good looking doesn't equal being stupid or having nothing to say.

Neeson does his best to bring something different to the character, to make it more than just a retread of his work in Martin Campbell’s Memory, but he’s up against it.

There’s a lot of interesting stuff to explore here and it’s a shame that we don’t get into it in more depth.

The humanity it brings to its characters is refreshing for the genre, as is its unadorned realism.

To think that Ridley Scott provoked so much tension and dread from just one is strange. When they are all over you, it makes for a superior sequel.

A compelling puzzle.

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

What isn't untrue is that Anora is brilliant.

For animation aficionados there’s plenty here to watch and take notes from, rewind and take more notes.

Brilliantly claustrophobic and eerily entertaining.

Dennis Quaid plays Henry Whipple with so much tension in his face that you might expect a little alien to pop out of his temple at any given moment.

It is Aurora herself who, unsurprisingly, provides the most poignant observations as she looks back at her life.

There's a good deal of spurting blood to provide visual accompaniment to the off-key screaming.

Essentially a celebration of glorious selfishness.

Where these genius guys who put All Tomorrow’s Parties together succeed beyond expectation is in capturing the fierce and beautiful commitment of everyone involved.

My token seven-year-old sat entranced through the agreeable 90-minute runtime and opined that 'it was really cool'.

Le Amiche is a deceptively sharp look at a society in flux and at the destructive effect on individual lives of lingering social divisions.

The film hinges on a powerful central performance by Karen Allen.

For all the creature effects and gore on offer here - not to mention bad acting and risible dialogue - Basket Case 2 feels cosily tame.

Besides fraternity, paternity and family, craziness forms a major theme here.

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

Ballast is absorbing because it bravely avoids dramatic cliches to deliver a more positive experience than might be expected.

Kubrick badly misses the mark with this film, not in quality, but by a whole decade. It simply does not fit into the 1970s.

Complex ideas are brought out in part through a brilliant script, in part through brilliant direction.

Showcases the venerable maverick’s directorial style at is best and its worst.

This film is as clever as spin doctor.

The fashions may have come and gone since John Schlesinger commited Keith Waterhouse and Willis Hall's story of a young man torn between his family and the future to film but Billy Liar is still suprisingly light on his feet 50 years down the line.

A slow-burning, emotionally haunting film that thrusts the bond between mother and child under a microscope.

The Bling Ring cuts through the vapid foam to the vapid core to ask questions about morality, responsibility and where desolate idleness may lead.

One of the great masterpieces of modern cinema

Season 4 proves to be difficult, absorbing, dark and of the highest quality of Scandi Crime.

Tom Hardy makes other movie hardmen look like they belong on the Muppet Show.

Havard's sullen features and emotional distance set the tone for the film so that even the tiniest spark of excitement has real power.

The pairing of the silent, brooding tiger-like masculinity embodied by Sundance with the quick wit of Cassidy is a classic formula.

This is less a tale of exploitation than a portrait of isolated individuals still playing a game that long ago lost its meaning.

Burton does not think he needs to make up his mind about the tone of the movie. It is like a child ordering an ice cream with five kinds of toppings.

While it is a remarkable and very vibrant portrait of an esteemed artist at one of the most famous and influential periods of his career, there are maybe too few songs for fans.

Writer-director Yves Caumon notices the small details... and makes them count.

It's beautifully produced, looking really polished for its tiny budget.

Hopkins has an eye for a telling image and coaxes powerful, committed performances from his cast.

Worth seeing for its gripping central performances and Cuenca's impressive camerawork - signposting better films from him to come - even though the story lacks killer instinct.

The lads’ delight at their early success is engaging, and both stars acquit themselves well.

This isn’t a fuzzy celebration of making do with what you have as you get older but of embracing the passions that endure.

Pilcher strikes a good balance between interpersonal drama, nerve-racking action scenes and focus on the cat and mouse game that the women are caught up in.

The central portion of the film is delciously discomfiting.