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Insightful and at times wonderfully playful.

The movie is peopled by characters without boundaries and the cast responds by turning in some of the most extravagant performances this side of I, Claudius.

Gets lost not profound.

It's worth noting that this is Altricher's graduation film - he's certainly got his career off to an impressive start.

Defect Six: how do you make a movie about losers that isn’t a loser itself?

There is nothing wrong with this film, except predictability.

Peppered with loving references to other genre classics the film is flamboyant, kinky, kitsch and irresistibly irreverent.

It is refreshing to see a film about gay men which focuses on their character rather than their homosexuality.

All suspense is lost when everything is dark, strange and unfamiliar.

The film is repetitive in the way it tackles its subject, but the people themselves make up for that.

An effective exercise in giallo style.

Don't expect anyone to smile in this humorous and provoking film.

Hilarious throughout.

Despite all the chaos, I've seen more mild peril in an episode of Scooby-Doo - except that, in Scooby-Doo, the female characters have some agency.

Having set up all the elements of a thriller, the film proceeds to untangle them in a refreshingly different and mature way.

Jones and Ross are both strong personalities and the personal aspect of the film is one of its strongest suits.

Wes' playful approach to day to day life and the warmth of the central friendship keeps all this from becoming too heavy.

As the dashing assassin Puss in Boots, Antonio Banderas is perfectly cast, and there is not one moment of his performance which is not worth watching.

The drama itself is a bit on the wayward side... with the underwater stealth scenes adding some much needed propulsion

Tension leaks over the floor, like blood, until the denouement, which throws everything into the air.

Films like this come along once in a generation.

Perhaps most disappointingly of all, we really don't see much of the sharks.

None of the subplots follow through. Ideas hang on hooks, waiting for collection.

As a rites-of-passage, it suffers too wide a time frame.

I've seen it described as a film with a twist but that suggests it's got just one. It's full of them, it's made of them, it reels and gyres and tumbles into something special.

While the lo-fi production design on the spaceship - with its man-made webbing and items from food tins to tools strapped down left right and centre - is absorbing in its detail, there's only so long it can distract you from the film's bloated running time.

JJ Abrams rescues Rodenbury's creation from the pop culture scrap heap and produces a very likeable romp.

Wainwright's style is crude... slow-motion water droplets are constantly about to hit the deck, while white doves flutter toward high windows.

Although the story is simple (beyond its merging of two different sets of genre conventions), it's stylishly presented.

Engaging characters, well developed by the young cast, make this a film that's easy to enjoy.

While there is no denying that a post-modern examination of John Hughes’ high school is interesting, there is an aloofness here which plays badly against the central will they/won't they romance.

A brief trip into shortbread-tin Scotland.

Bill Murray is acceptably crusty, but hardly huggable

At its best this film is a gripping look at what drives people to brave the heights, although it would have benefited from taking a more linear approach to its undoubtedly well-researched material.

While the craft remains faultless, the effect becomes like walking through a beautiful gallery, with each painting looking lovely but with little connection to the one before or after.

Superhero Movie follows almost exactly in the footsteps of its forebears, the Scary Movie films; this time the parody is aimed at the bloated belly of comic book hero movies.

Good work is undone by a zany tone.

If there is one thing Uisden Murray’s short film has in spades, it’s ambition.

Glistens with the best kind of nostalgia.

Alexander Alexandrov's grimy cinematography shows us the dirt and the grit we have come to associate with working class Americans going off the rails, and applies it to well cared for suburban homes and cityscapes usually pictured as glamorous.

Proof that when you combine a great premise and a talented director, you don't necessarily strike gold.

Buck has crafted an assured, uncompromising and often tense piece of social commentary.

The slow pacing isn't helped when sequences like the one that opens the film... go on for so long they almost become self-parodies.

James Cameron's masterpiece. A lean, brooding, violent and unforgettable experience from a director hungry for success.

This Is Martin Bonner is undoubtedly a small film but it is finely crafted and has a big heart.

Rockwell’s realist style and sense of history helps keep the story engaging, but the real reward for the viewing comes in the emotional final act.

Boyle makes excellent use of London's roofscape and some dazzling modern apartments whose glass provides both reflective and transparent surfaces which help confuse dream and reality.

The action sequences are properly thrilling yet just silly enough to remind us that the film appreciates its cheap and cheerful origins.

When the film focuses on the living over the undead it is at its strongest.

Rodrigo Bellott, who adapted the film from his own play, employs multiple layers of fiction to explore themes around loss, rejection, redemption and that deep human longing to understand what's going on inside the minds of those we love.