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Rohrwacher’s visually eclectic style is well suited to exploring the contrasts between present and past, natural and artificial, poverty and wealth.

Poekel keeps things natural, letting Noel's sadness slowly permeate the atmosphere along with the scent of pine needles rather than ringing it out at high volume.

You might be forgiven for thinking: oh no! This is just Taken with snow! In every sense. But then, the film turns and something not quite right that you had begun to notice about it begins to take hold.

The world Dylan and the others inhabit...feels properly lived in.

Director Edward Berger and his director of photography Stephane Fontaine have made every frame art.

Constantine is best enjoyed by ignoring the Milton-centric mythology and surrendering to the movie's lush atmosphere and wicked performances.

What starts out as a fairly straightforward horror thriller is enriched by Matthew Currie Holmes's fantastic dream/flashback scenes, which are a real treat for genre fans.

Historically, this film is likely to have considerable value as a snapshot of a movement at a pivotal time in its history.

Well-paced, genuinely funny most of the time and emotionally resonant.

A good wee film.

McEnery-West turns his restrictions to virtues, creating a nightmarish, hermetically sealed world where his audience share the protagonists’ sense of brutal dislocation.

Seigner's performance is as powerful as it is sympathetic.

[Curious George] just goes out to entertain and make people feel happy.

The main problem is its sheer laziness.

Distrust is a dangerous and volatile thing and Reeves' film shows how it is this rather than grandstanding gestures that often lead to conflict.

Save the planet, buy Citizen Quartz watches and eat at McDonalds!

Dawn Of The Dead is an astounding work that holds up to this day.

A decent concept and incredibly impressive special effects are irreparably jolted by a shoddy script, one-dimensional plot and sluggish pace.

The film becomes a mere series of incidents, superficial, where a little more development could have made a big difference.

The original film was derided by critics for being crude, exploitative and immature. Fans will be pleased to know that this one delivers more of the same.

Both female stars are on fine form here, relishing the chance to let go and unleash the full force of their personalities.

Diabolik is a protagonist, but not a likeable one. Not only an antihero, a murderer. Luca Marinelli has charisma in spades, but not here.

Saturated as it is with unreliability and delusion, this is a film that relies heavily on atmosphere to keep viewers involved.

Pretty much everything about Michael S Ojeda’s film is by the book – right down to Chekov’s pregnant woman – but it rattles along fast enough to keep viewers from worrying about that too much.

A film of extraordinary complexity and fascination.

Donnie Darko is probably the best evocation of the twilight zone of adolescence yet put on film.

Could be a treat for discerning genre fans.

A sterling, if uncinematic adaptation, without pretence or frippery which could dilute the potency of performances or writing.

Plot holes, illogical moments and a general feel of immaturity bog it down.

We never fully empathise or understand Delmira's plight, or feel completely drawn into her world. However, that may just be the point.

This is water colour territory, the palette dominated by blues and greens - beautifully captured by up-and-coming DoP Brian Fawcett - Jools Scott's music subtly affecting and the mood as melancholy as rain running down a window pane.

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

Tries to stick closely to the Manga fans love and yet also make itself legible to newcomers, failing on both counts.

Linstrom ends so inadequately you want to scream.

There's such a spirit of good humour and bravura low-budget creativity about the whole thing that it's enormously likeable.

Durant's Never Closes is unlikely to be a breakthrough film, but where Durant is remembered as a local force to be reckoned with, it will have strong audience appeal.

With its underworld themes and ambiguous protagonist, Eastern Promises plays like a companion to A History of Violence.

Though Kinnaman works hard in the role and does convince, it's the teenage Holland who steals the show.

Neither particularly original nor particularly satisfying.

It’s Plaza’s magnetic performance which really makes it special.

Director/co-writer Emerson Moore has crafted a superior example of its type thanks to decent character work, puzzles which actually present a challenge, and a capable lead.

This is almost an hour longer than anything else Zhao has directed, and while her eye is keen there must surely have been a point where someone looked at a script and thought 'this is too much'.

An intriguing film, right up to the end.

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

The brave new world of electronic dictatorship is not ready for this. There are no maps.

Villeneuve knows how to stoke the tension so that benign moments become first unsettling and then downright creepy.

'The best view of God is from Hell.' The best view of Exorcist: The Beginning is not at all.