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Putting Covid-19 in a monster movie context is psychologically significant: it gives us the power to imagine its defeat.

Dazzles us with so many balls in the air, so many twists and turns, that there is not enough room left for his characters to develop as believable, interesting people, as opposed to comicbook archetypes.

Charm' is just one of the words, and others like 'winsome' are right there - it manages this without ever feeling forced, without ever feeling twee - and that makes it a triumph.

Akira was a step change in what animation could show.

In the end it’s the boldness of its choices which really makes the difference.

Denis Villeneuve's latest film may be about aliens visiting Earth but it's the people who hold his interest.

That it succeeds is due to Cornish's lightness of touch and terrifically naturalistic performances from all the young people involved.

The abiding sense is one of a gentle progress, an unfolding as of leaves, shadows dappled sliding slowly afternoonwards.

As the plots begin to coalesce everything becomes far too overwrought.

All that really comes across is a muddle of vague liberal humanist sentiments that sits awkwardly alongside an unquestioned command of action mayhem.

No film by Herzog has ever been so defiantly mainstream – and yet at the same time this remains one of the director's craziest, most outlandish affairs.

Travolta doesn't seem to care what this might do to his fan base.

It's almost a disservice to talk about Black Panther in the context of the MCU, because perhaps more than any other it stands alone.

The hand-drawn beauty of the images always connects to ideas, something grander that we have yet to find out about.

Retains a tight grip on your imagination

To assume it's just another routine serial killer yarn is to miss the emotional subtlety and sharp analysis of contemporary Japanese mores that underlie the greater horror.

Jordan's film stands out as a beacon of humanity.

Miike clearly has loads of ideas.

Good for fans, not so good for newcomers.

An entertaining slice of ludicrously over-powered martial action with some broad comedy too.

Takeshi Kitano returns to the tradition of the bunraku doll theatre, where tragedy is expressed in silence, leaving the audience to make sense of it, or not.

This is dark, and sweet, and repeatedly inventive, but doesn't always feel coherent.

Though the story is straightforward, Torres' fierce performance gives it passion and energy.

There's something increasingly bland and uninvolving about this Will Ferrell vehicle which, like him or loathe him, you've got to admit is a kind of achievement.

Fortune Favors Lady Nikuko has a unique charm.

This is an ensemble performance in the psychopathology of feeling over-dramatically sorry for oneself.

The script is dangerously low on laughs and appears charmless

The plot becomes tangled in its own loose ends

Forest Whitaker's presence is so forceful that you don't want to think about the absurdity of his character.

The performances are generally fine if unremarkable - although it's bizarre that despite Mardenborough’s hometown being in Wales, not a single actor here has a Welsh accent.

Though scrupulously backwards-compatible with the original, makes it, and everything else besides, seem entirely redundant.

An exhilirating opening - all freeze frames, slo-mo, jump cuts, cut-to-bangin' techno - gets your attention.

Neither scandalous, nor inspiring.

We feel rather as if we're watching Springtime For Hitler but with real gas chambers.

This is a joyous pearl of a film.

Too many jokes fall flat coming from the mouths of a very talented cast.

Small children would delight in this film, but most adults would be horrified by the thought of them seeing it.

The action is exquisite, the cinematography sublime.

The action is shown blow for blow, often in slow motion and repeated in order to allow the audience to fully savour and digest the majestic magic of the martial arts.

The effects, my dear, will blow your mind and everything else still standing

The film still doesn't work, but not for lack of effort expended.

Ultimately more heart-warming and life-affirming than you would ever imagine a film centred on casual violence could be.

However hard he tries, Takeshi cannot avoid the accusation that all tough guys in the movie turn out to have soft centres.

A journey you have never travelled before

The flair that Fukasaku would demonstrate in some of his later films comes through strongly here.

Schwarzenegger wisely tones down his previous big-screen persona and slips into a sort of late-in-the-day charm.

Director Baltasar Kormakur’s gripping thriller is inspired by classic noir - the cinematography is as bleak as the story and there is no neat happy ending.