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Schrader uses the monochrome landscape to great effect, slowly building a tension.

So flagrantly derivative are its set-pieces that it is a struggle to find anything original in the film at all.

The cinematography, making the most of stark landscapes and wide open spaces, is often breathtaking.

The irreverent score, the gothic art direction, and Mario Tosi’s kaleidoscopic, slithering cinematography coalesce into something mesmeric.

Ramsay's style takes no prisoners.

Ruzowitzky bobs and weaves around the cliches in ways that lift Deadfall above many of its genre contemporaries.

This is the time of year when I want buckets of forced sentiment with my overpriced cola, but this film felt cold despite the lack of snow

Although this is worth watching purely for Duvall's superb turn, he doesn't want for support.

If you are willing to accept that this is an exploratory snapshot that seeks to confine itself to the times it is portraying and leave any consideration of modern-day echoes to the conscience of the viewer, this is a good story, well told.

Cunningham's characters are credible and beguiling, and skilfully rendered by the cast.

While the cast is odd they all do their best with what they're given, and in some cases their best is more than what's deserved.

The first thing you notice about In The Bedroom is that it looks ravishing.

What finally raises the film above its somewhat programmatic, fight-the-power formula is its willingness to provide a believable context for the abuse.

If Tucker hadn’t been a real person, you would have had had to invent him so Redford could play him, so perfect is the fit.

When you realise that this is based on a true story, and that the spread of HIV and AIDS has meant that similar stories are all too frequent, it becomes almost offensive that they've made such a bad film.

The more you know, the less you fear.

Richard Farnsworth gives one of those performances that redefines the use of the superlative.