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There are subtleties here, not least in the ending. Details are small but well scattered, each adding to the tale.

Joaquin Phoenix is utterly convincing in this role, conveying the longing and confusion with glimpses of the happier guy he could be.

A self-important, prosaic and ill-defined artistic tableau.

There's an intriguing storyline, plenty of action and characterisation to spare, well-conveyed by a cast mostly unknown to me.

Although, occasionally resorting to stereotypes and cliche to find a laugh, by and large Iglesias script is intelligent and witty.

Multiverses have become a box office staple lately, courtesy of Marvel and the like, but they are rarely as elegantly mounted as this retro and twisty little mystery from Timm Kröger.

One of the most stunningly banal films I have seen in decades.

More of a sampler than a definitive list.

Violent Summer is not an epic wartime romance. It's a smaller, quieter film, reflecting people's motives, actions and truths.

The performers all do a decent job but one of the movie's major flaws is the awful assortment of accents flying around.

Everything is exquisitely shot and wonderful in its alienness.

Viewers end up spending an inordinate amount of time watching fuzzy images of people running round corridors shouting incoherently, and frankly that’s boring.

Thought provoking and well acted.

A film that challenges our perceptions and encourages us to ask bigger questions about ourselves, our beliefs and our place in the universe. Not a bad thing these days.

This particular malt is a wee charmer in its own right.

A dreary looking film, without any visual or storytelling flair.

Given depth by Ann Sheridan’s nuanced performance.

It is as though the cast and scriptwriters are constantly nodding to one another and admiring their own cleverness.

Like the protagonist we are swept up by a wave of questions about aviation and identity and the unbearable heaviness of memory.

Underscoring everything here is the can-do spirit to be found in the film’s heroes and in its creators.

Kat is styled with a punk sensibility which will appeal to young viewers tired of old fashioned notions about how young heroes ought to look and behave.

Here cosmos and chaos, action and reaction, hope and despair, love and anger, all bump and grind together in a Satanic tango.

Well realised and engaging, with impressive production design.

The meandering pace can get tedious at times, but cinematically it's a masterpiece.

Palmason accentuates the tedium by holding almost every shot far longer than necessary or shooting scenes in pitch black mines or against stark landscapes white with lime dust.

A mature approach is not matched by the quality of the performances or script.

In the spirit of goregush horror flicks, this Wes Craven production is highly creative in disembowelment techniques.

There's a gentle soulfulness underlying Romas Zabarauskas' tale of reconnection.

Opening on a dark and stormy night, Hirani makes it clear that she feels no obligation to tread lightly.

This might have seemed like a barrel of laughs but it's actually just a barrel of shit.

A sweet, old-fashioned Disney film.

Although the editing sometimes jars, Fulci juggles smooth, elegant camera moves with nimble handheld work to get the balance of dramatic build-up and visceral action just right.