Not surprisingly, for a movie dripping in bodily fluids, it's about as sexy as cold rice pudding.

~ Gary Duncan -

You can do nothing but sit in a haze of expectation, waiting for the fun to ferment, which it does

~ Angus Wolfe Murray -

Breezy and informative

~ Amber Wilkinson -

The acting has an energy and conviction that demands respect.

~ Angus Wolfe Murray -

The 99 Unbound might just about cut the mustard after school on CBeebies but its low budget and rudimentary design are cinematically embarrassing.

~ David Graham -

The narrative is paced with the urgency of a thriller.

~ Richard Mowe -

Vermeulen has chosen to make a quiet film that allows us to spend time with the men themselves and appreciate what they're going through.

~ Jennie Kermode -

Assa is great in the role of Grubeck, clearly enjoying himself and making for entertaining viewing despite the clunky script and overall shoddiness of the production.

~ Jennie Kermode -

Over the course of this accidental film, poignantly named by its subject as he contemplates sport and mortality, generational differences in attitude and expectation emerge.

~ Jennie Kermode -

It's rough at the edges, but it still makes for compelling viewing because the charged nature of the situation an the force of will thereby required to get it off the ground.

~ Jennie Kermode -

We are quickly immersed in the action.

~ Jennie Kermode -

Ideas of fascism, loss of the soul and post-apocalyptic existence, all ripe for exploration, are given a body swerve in favour of muddled new-age nonsense.

~ Amber Wilkinson -

Ozon's quirky French murder mystery-cum-comedy-cum-musical is a brilliant pastiche on so many genres, it has no right to be as entertaining as it is, or as gripping.

~ Amber Wilkinson -

Produced and directed by middle-class white men, the movie crawls through sewage to appear genuine.

~ Angus Wolfe Murray -

It’s a cute idea but a tricky one to pull off.

~ Jennie Kermode -

8 Bar makes light work of sketching the conditions that shaped the music, betraying a canny understanding of the music industry’s politics, as well as the changing shape of music sales in the 00s.

~ Sunil Chauhan -

The plot produces one of those surprise twists that reinforces its decline into gratuitous cliché.

~ Angus Wolfe Murray -

The filmmakers are so wrapped up in the importance of the social issues, that they forget to come up with anything to say about them.

~ Jeremy Mathews -

The thriller element of all is slickly written and the tension well generated, but sometimes it struggles for air amid the film’s more soapy subplots.

~ Amber Wilkinson -

Lally must be given credit for his singular vision – his story unfurls in the throes of dark melodrama and with every revelation, proceedings become increasingly grim, constantly upping the ante.

~ James Gracey -

Patient, observational, 80 Million generates tension from small glances and elicits sympathy wih its depiction of everyday lives.

~ Jennie Kermode -

Placido's direction and the cinematography of Arnaldo Catinari have a smooth elegance that retains tension without making the film feel confined by its original stage play setting.

~ Amber Wilkinson -

McDonald is excellent.

~ Jennie Kermode -

The seven stories knit together well, and provide an engrossing and alternative view of a city whose image has long been absorbed into popular culture

~ Emma Slawinski -

There’s undoubted style and polish from Grou here, but the disjointed whole doesn’t stand up to the weight of its own pretensions.

~ Paul Griffiths -

This Paraguayan thriller, featuring almost as many twists and turns as the market in which it is set, is a fast-moving, audience-pleaser with decent helpings of tension and black humour.

~ Amber Wilkinson -

An elegant, inspiring piece of silent cinema, which is strongly recommended for any hopeless romantics out there.

~ Adam Micklethwaite -

The 7th Dimension is a terrific hoot at times. Shame it never wanted to be.

~ Paul Griffiths -

Gašić adroitly weaves together the perspectives of the three sisters, each one at a different point on the road to maturity, painting a complex picture of growing up in wartime.

~ Tara Karajica -

Essential viewing for anyone with an interest in the craft of filmmaking.

~ Jennie Kermode -

Across this film, two dominant themes emerge - the overwhelming nature of the situation and the importance of small acts of kindness.

~ Amber Wilkinson -

Burke is interested in people not politics, keeping the focus on the sudden outbreaks of inhumanity and humanity in the madness, expertly crafting his thriller from the swirling fog of war.

~ Amber Wilkinson -

Hannah Fidell's script shows the same sharp insight she brought to A Teacher, continually telling us more about the characters than they know about themselves.

~ Jennie Kermode -

There is hardly a true note struck and since we are given no reason to like, let alone care for them, there is simply no tension surrounding their imperiled survival.

~ Paul Griffiths -

Nuanced and thoughtful, alert to the individual suffering behind the headlines, cogniscent of the bigger picture.

~ Jennie Kermode -

The plot is absurdly complicated and durr brain simple.

~ Angus Wolfe Murray -

Although absurd and gruesome, this Thai film has a wicked sense of humour.

~ Angus Wolfe Murray -

On the one level, 68 Kill is pure pulp trash, harking back to director Trent Haaga's Troma roots. On the other, it's brilliantly done.

~ Jennie Kermode -

A brilliant piece of character driven desert noir.

~ Andrew Robertson -

Lina’s filmmaking has a raw emotional quality.

~ Amber Wilkinson -

A thought-provoking glimpse into a much bigger neverending story.

~ Dylan Matthew -

This is a deeply personal account of life in Palestine, and also one which sends out a strong political message.

~ Val Kermode -

5B isn't just a film with an interesting subject, it's a powerfully made, nuanced and thorough piece of work.

~ Jennie Kermode -

The voyeuristic experience of watching their unpleasant exhibitionism becomes a very alienating experience and as a result it is increasingly difficult to engage with, or indeed care about, any of the characters.

~ Adam Micklethwaite -

Suffers from a surfeit of superficiality.

~ Angus Wolfe Murray -

Bukowska makes sure we become as fixated on Anna as she is on Witek, as cinematographer Tomasz Naumiuk's camera creeps ever closer to her, his stifling approach matched by dislocating sound design and Natalia Fiedorczuk-Cieslak's score.

~ Amber Wilkinson -

There is no effort to sanitise characters' lives in order to get a message across, and as a result the film never feels preachy.

~ Jennie Kermode -

Daley, in almost every scene, acquits himself well, and Steve Coulter shines as long-suffering best friend Bill.

~ Jennie Kermode -

For a first feature, this is a stunning piece of work.

~ Jennie Kermode -

This is a most interesting film, examining attitudes to love and marriage.

~ Susanna Krawczyk -

Unoriginal and formulaic it may be, but the movie is great fun.

~ Keith Dudhnath -

Though only an hour and a half long, the film is extraordinarily comprehensive, exploring its subject decade by decade and contextualising each major development with personal stories about the changes that resulted from it.

~ Jennie Kermode -

There are some good gags along the way.

~ David Stanners -

Like several genre-splicing and convention-lampooning comedies of late, the film tries to have its cake and eat it, but this can leave both sides of the recipe feeling half-baked.

~ David Graham -

Flawed though it is, 500 Days Of Summer is still a fair cut above the average piece of Hollywood fare both in terms of its laugh quotient and offbeat romance.

~ Amber Wilkinson -

A visionary piece of cinema, 5000 Space Aliens takes a simple idea and uses it to drill down into something deep rooted in the human psyche.

~ Jennie Kermode -

Takes hold of the audience and never lets go.

~ Jennie Kermode -

It's frantic at the fore, but contains some of the most accurate depiction of both boredom and resignation I can recall.

~ Andrew Robertson -

What it lacks in terms of original ideas, the film tries to make up for with loud music and flashing lights.

~ Jennie Kermode -

The plot is layered in fantasy and fiction and yet retains a powerful idealism

~ Angus Wolfe Murray -

"I'm so scared we're going to die down here."

~ Angus Wolfe Murray -

To call the film haunting is an understatement.

~ Luke Shaw -

45365 proves visually delightful and while it may romantically honour the everyday and find beauty in the individual, but it saves a dispiriting, melancholic tone for the whole

~ Paul Griffiths -

The idea of the bare room, the helpless prisoner and the group of aggressive men is profoundly Pinteresque. Unfortunately it has neither Pinter's wit nor his brevity.

~ Jennie Kermode -

A combination of strong acting and astute writing gives us four distinct characters any one of whom would be strong enough to carry a film on her own.

~ Jennie Kermode -

This is a film possessed of a rare emotional intelligence.

~ Jennie Kermode -

It establishes the genre in spectacular style, breaking boundaries of perspective, camera technique, dance as spectacle and of choreography as written especially for the screen.

~ Chris -

A handsome and suprisingly sturdy undertaking that explores the insidious effects of racism with a sharp eye.

~ Amber Wilkinson -

The film gets an impressive amount of mileage and you never really feel like it's dragging.

~ Gator MacReady -

If Josh Hartnett gives up sex for Lent, DO YOU CARE? Only if it's funny. Well, it's not.

~ Angus Wolfe Murray -

Gourmet is phenomenal as the shopping centre aficionado who makes us understand a little more why the world is in the state it is in today.

~ Anne-Katrin Titze -

The audience is charmed and enthralled from the very first scene.

~ Keith Dudhnath -

It's a far more interesting movie to think about than to watch.

~ Scott Macdonald -

Erik's story is not in itself an extraordinary one, but it's his determination to share it and to tell the stories of the people he met, to talk about both suffering and the generosity he encountered, that marks the film out.

~ Jennie Kermode -

Silver exposes is an underlying, deep-seated prejudice rather than some sort of murderous instinct.

~ Amber Wilkinson -

It's crud like this that gives foreign language films a bad reputation with the average moviegoer.

~ Gator MacReady -

Clarke puts a lot of trust in his actors, allowing room for personalities to emerge naturally.

~ Jennie Kermode -

The comedy and thriller aspects of the film don't always gel but the character work is generally strong enough to carry us through it.

~ Jennie Kermode -

Mysteries lend the romance an irrational trajectory.

~ Anton Bitel -

Although you'll have to wait a long time to see our squaline hero mess with the wrong Mexican, when the moment comes, it makes it all worthwhile.

~ Jennie Kermode -

History has been kind to Hitchcock’s film, something which is a testament to the director’s immense talents, and it is remarkable how well The 39 Steps holds up.

~ Daniel Hooper -

What comes through this epic tale of migration and hardship is the Pamir's sense of humour.

~ Angus Wolfe Murray -

viscerally stimulating and emotionally engaging.

~ Daniel Hooper -

Two things that save this cowp of a film from utter banality are the cinematography, which is technically competent, and the quality of the actors and their performances.

~ Donald Munro -

Directed by Olivier Marchal, an ex-cop himself, the film looks terrific.

~ Angus Wolfe Murray -

This photographic formula may sound as restrictive as it is perscriptive but Thamrongrattanarit has a light approach to his ideas of memory and recollection, weaving moments of comedy and poignancy into his sweet if slight drama.

~ Amber Wilkinson -

Denis declines to make concessions, she’s willing to show, refuses to tell.

~ Amber Wilkinson -

There is a solid certainty amongst its crosses and doubles and that's that it isn't very good.

~ Andrew Robertson -

Scenes don't run fully to their end or don't quite start at the beginning, the drama often whisked somewhere else as we're about to reach what more mainstream films would consider the small moments of climax.

~ Amber Wilkinson -

If you listen closely to what this film has to say, you won’t listen to the world the same way afterwards.

~ Jennie Kermode -

Underneath the film's problems, an edgy little thriller is struggling to get out.

~ Jennie Kermode -

Mangold’s version proceeds far too quickly to a ludicrous, logic-defying shoot out.

~ Jeff Robson -

It's exploitation cinema but it's made with care.

~ Jennie Kermode -

Like a sort of laughter thong, it covers very little and doesn't save the blushes of anyone involved.

~ Amber Wilkinson -

Sends an icy blast of fresh air into the moribund genre.

~ Anton Bitel -

David vs Goliath: The Rematch.

~ Angus Wolfe Murray -

It feels like a two-hour descent into Mordor that makes Gladiator look gay.

~ Chris -

A film that is both intellectually stimulating and visually satisfying.

~ Jennie Kermode -

An undemanding, comic romp

~ Caro Ness -

Although it is one of Godard’s cleverest and most rounded attacks on capitalism, the film comes into its own as he questions the nature of reality.

~ Chris -

The film has a cheap minimalistic feel, although this adds to the theme of two men who are always trying to grasp at anything that comes their way.

~ Paul Logan -

Like the bulls that Papi is so fond of, this film is more interested in careering about causing mayhem than dwelling on details.

~ Amber Wilkinson -

The car chases are exciting for those who appreciate hand/eye co-ordination and the stunts can be impressive.

~ Angus Wolfe Murray -

In the first part of the film, the script zips along with plenty of laughs but the biggest problem is that the characters, in particular Marion, become increasingly difficult to like.

~ Amber Wilkinson -

This was clearly a family affair for Delpy and a labour of love, but this film inevitably is taking a risk reheating the five-year-old meal that was 2 Days in Paris.

~ Owen Van Spall -

The film races along, covering a range of moods (comedy, horror, action, tragedy) with economic fluidity.

~ Anton Bitel -

There are a lot of bad shark movies out there but this is one of the weakest.

~ Jennie Kermode -

The humour doesn't even reach the promised two dimensions.

~ Keith Dudhnath -

28 Weeks Later... makes for scorching horror. Like the original, it offers a perfect blend of well-drawn characters, political allegory, grand guignol, flesh-crawling tension and very fast-moving zombies.

~ Anton Bitel -

Garland needs to get back to the drawing board and look up the term 'character development' in his notes.

~ David Stanners -

Crushingly predictable.

~ Angus Wolfe Murray -

I can’t think of one original thing in this film.

~ Val Kermode -

Director Patxi Amézcua sets the pace carefully – it’s fast enough to keep your heart-rate up but not in that forced, dizzying, blink-and-you’ll miss it style with which Hollywood is so enamoured.

~ Emma Slawinski -

No filmmaker since Woody Allen has loved New York like this, but Lee is prepared to show it in all its stark ugliness.

~ Jennie Kermode -

Gushes tension and excitement from every pore.

~ Keith Dudhnath -

What the film achieves, better than any other rock music movie, is how unorganised and stupid so much of what went on behind the scenes was.

~ Angus Wolfe Murray -

Always there is tension.

~ Angus Wolfe Murray -

This blending of the truth and invention is a key plank of Chinese director Jia Zhang-Ke's work, which skates so close to documentary it is hard to spot the join.

~ Amber Wilkinson -

A remarkably well made film that makes no compromises to the romantic tradition of high school happy endings.

~ Angus Wolfe Murray -

Ideal summer entertainment.

~ David Graham -

Jean Reno is unflappably cool. There's not much more to it.

~ Scott Macdonald -

If you can find humor in casual racism, drunk driving and people being gored by marauding buffalo, this may be the film for you.

~ David Graham -

This initially seems like a set-up for a film exploring mental reconciliation after estrangement but the Larrieus have other ideas - perhaps too many of them.

~ Amber Wilkinson -

Blends zany character comedy and squeamishly surreal grossout with some postmodern wit and knowing parody of action cliché tropes.

~ Anton Bitel -

An equal, not a sequel from one of cinema's brightest hopes.

~ Keith Hennessey Brown -

Kevin Spacey is really the highlight of the film. Every scene he's in springs to life, his laid back performance blowing the younger cast out of the water.

~ Jennie Kermode -

This is great stuff - a fantastic musical documentary.

~ Andrew Robertson -

Oscar shortlisted for Best International Feature and Best Documentary, this is an intense film with little respite even when no bullets are being fired.

~ Amber Wilkinson -

Technically cutting edge and daring to the point at which the plot and characters start to play second fiddle.

~ Amber Wilkinson -

A film of refreshingly non-intertwining stories and nice characterisation.

~ Trinity -

Annette Bening gives a glorious, all-encompassing performance.

~ Anne-Katrin Titze -

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.

~ Anton Bitel -

A bit like a Kevin Smith version of Cloverfield, but in a good way.

~ Jennie Kermode -

As much as 2073 mentions things, it digs no further.

~ Andrew Robertson -

Moments are frozen into memory in a way that overrides context.

~ Chris -

This is a grand vision, grandly executed, and like the solutions it depicts it exists today.

~ Andrew Robertson -

There are stretches of this film that are interesting, engaging, well done. Over all, however, it feels like an ambitious project that has fallen short.

~ Jane Fae -

Never fear, the requisite monuments duly get what's coming to them.

~ Jennie Kermode -

Although the shift in the film's gears isn't exactly smooth, it's an ambitious idea for a first-time filmmaker and Nayfeh brings home the sharp reality of the smuggling business.

~ Amber Wilkinson -

As a story it falls apart because there is no one to root for.

~ Daniel Hooper -

The long wordless opening of 2001 remains one of the most beautiful sequences on film.

~ Nicola Osborne -

Otero, who is in almost every scene, carries the film with her fresh and naturalistic performance, which is perfectly complemented by Solaguren’s impressionistic style.

~ Jennie Kermode -

Nemo may prefer a diet of marine delicacies but there's never any danger that his vessel will run short of ham.

~ Jennie Kermode -

Pollard and Forsyth, who have previously worked with Cave on Bad Seeds videos, turn inner states into inhabitable rooms. What is real and what is unreal is not for the audience to guess.

~ Anne-Katrin Titze -

Crowder’s film is clearly a labour of love and offers a more multi-angled approach than anything I can recall that’s gone before.

~ Jeff Robson -

Brent Kinetz and Terence Mickey have produced something quite insightful.

~ Jane Fae -

Marmor resists the temptation to over-explain, yet every time you think you see a way out, some new confounding factor will emerge.

~ Jennie Kermode -

What is not said is every bit as important as what is, and we are invited to observe the numerous ways in which the characters communicate without words.

~ Jennie Kermode -

Mouaness has a better handle on the ins and out of school life and love than he does the bigger picture.

~ Amber Wilkinson -

Martelli carefully crafts an air of almost casual dread.

~ Amber Wilkinson -

By creating a little microcosm of the world via the puppetry, it's much easier for Wolski to keep a grip on the mood.

~ Amber Wilkinson -

This isn’t a plea for people to swap one source of authority for another. The focus is on encouraging us to think for ourselves.

~ Jennie Kermode -

As stark as its empty landscapes, as measured as the tread of the strangers along the poplar avenue, as compelling as the panic that grows in the village ahead of them.

~ Andrew Robertson -

Action is controlled and distinguished by its restraint.

~ Angus Wolfe Murray -

1915 does an impressive job of balancing different perspectives and concerns around the issue of remembrance.

~ Jennie Kermode -

Roda is interested in the little things that make up the stuff of life at that age.

~ Jennie Kermode -

Young makes a spirited lead, effortlessly conveying the emotional tumult of his character whilst giving him a sufficiently strong core that viewers of all ages will be able to relate to him.

~ Jennie Kermode -

Plays out with the same mixture of import and absurdity which marked the scandal as a whole.

~ Jennie Kermode -

There's a searing honesty and immediacy about the footage.

~ Amber Wilkinson -

Clichés are comforting rather than irritating thanks to a likeable turn from the impossibly handsome lead.

~ Stephen Carty -

16 Years Till Summer shows what can be done on a low budget with patience, insight and attention to detail.

~ Jennie Kermode -

Richard Jobson's debut is full of abiding images that linger long after the final credits.

~ Amber Wilkinson -

The concept of 16 Blocks is nothing new... Unfortunately, the concept outweighs the result.

~ David Stanners -

Predictably 'worthy' but lacks any real spark.

~ Rebecca Naughten -

Even De Niro cannot breathe life into a corpse.

~ Angus Wolfe Murray -

Knudsen is magnetic as the film's relentlessly pounding heart and its easy to fall into step with her beat.

~ Amber Wilkinson -

The cinematography is quite beautiful and makes great use of the African scenery and landscapes.

~ Maryam Ghorbankarimi -

14 cameras is at its strongest when depicting the conflicts that Gerald's behaviour, which quickly extends to stealing from his tenants and messing with their stuff, provokes between them.

~ Jennie Kermode -

As spectacular as it is slyly sentimental.

~ Anton Bitel -

Life by, if not on, the road, is revealed in snippets, an impromptu dance here, a joke with a customer there, building a picture of shared humanity and communication that often goes beyond language.

~ Amber Wilkinson -

In terms of quality, 1408 is neither executive suite nor basement broom cupboard.

~ Anton Bitel -

It's a challenging genre to take on - one in which it's difficult to deliver surprises or present complex characters - but Stamm has acquitted himself well.

~ Jennie Kermode -

There's no doubting the film looks good..But there's a feeling of both too much gloss and of glossing over details.

~ Amber Wilkinson -

13 Minutes is a sort of Casualty with tornadoes. And there is absolutely nothing wrong with that.

~ Jane Fae -

The sheer predictability of the plot means it doesn't really stand up to the scrutiny of anyone older than 15.

~ Amber Wilkinson -

Ultimately, what you see is what you get in 13 Assassins. Lots of blood and death and despicable cruelty.

~ Robert Munro -

The locations are breathtaking, the longships built to scale, the costumes handmade, even chainmail is constructed by the original method.

~ Angus Wolfe Murray -

Effectively assembles footage and facts in a relentless barrage that just overwhelms you, while confidently establishing connecting threads that have terrifying implications.

~ Owen Van Spall -

An impressively noirish moral fable.

~ Anton Bitel -

One of this year's must-see films, this is not simply a worthy tribute of a subject too often ignored by Hollywood; it's also a remarkable piece of cinema in its own right.

~ Jennie Kermode -

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

~ Jennie Kermode -

We may not know the names of the men in the room, but the combination of sharp scripting from Rose and focused performances gives us a window into the jurors' souls.

~ Amber Wilkinson -

If, like me, you’re a fully paid-up member of the Boyle fan club, this still has all the things you go to his movies for – imagination, heart, humour and a constant desire to try something new.

~ Jeff Robson -

The young cast has a natural air that complements the unforced scripting, which brims with an enviable amount of casual humour.

~ Amber Wilkinson -

Much of the drama takes place in isolated rooms and corridors, with Kim demonstrating a masterful ability to command viewer attention.

~ Jennie Kermode -

Campillo has a weakness in not knowing when to trim all the talking.

~ Richard Mowe -

This is a delightful, multi-layered film which has much more to say than is apparent on the surface.

~ Jennie Kermode -

Exhibiting self-assured flair and a penchant for creating breathtakingly choreographed fight scenes, Cheung has concocted a high-octane and bloody romp that blends melodrama with martial arts.

~ James Gracey -

Immensely satisfying and riveting.

~ Richard Mowe -

At the beginning, wit ricochets off the walls [then] the movie loses its spark.

~ Angus Wolfe Murray -

Richard Fleischer's 1971 film attempts to reconstruct events and, in the process, delivers one of the most genuinely chilling entries in the serial killer canon.

~ Jennie Kermode -

Despite all of its shortcomings, 107 Mothers nonetheless, makes for quite a completing piece of filmmaking.

~ Nikola Jovic -

The film would embarrass a turkey farmer.

~ Angus Wolfe Murray -

A wonderful black comedy.

~ Nicola Osborne -

A diverse collection of short films inevitably means there will be a mixed bag in terms of enjoyment for any one viewer: some of the films are very obscure or outright bizarre, whereas some are so short and slight they leave little impact

~ Owen Van Spall -

Shin Adachi’s script seeks to get past the gloss and into the reality of Japan’s “lost generation”.

~ Luke Shaw -

Although this film lacks polish and doesn't have the dynamism one might hope for with a subject of this type, Cobell herself is a strong presence, and its historic importance is considerable.

~ Jennie Kermode -

While adults might cry "cliche", youngsters are likely to fall in love with these familiar fairy tale elements, which are given a dash of modernity.

~ Amber Wilkinson -

In the end, the silliness easily and organically transforms into warmth and a heart-felt experience.

~ Marko Stojiljkovic -

It's a crying shame that this good work has been so clumsily packaged.

~ Jennie Kermode -

Herriman is perfect in the lead.

~ Jennie Kermode -

Honigmann and her editor Jessica de Koning find an amiable rhythm, moving between straightforward interview segments and more contemplative moments.

~ Amber Wilkinson -

A pretty empty and tiresome experience.

~ Marko Stojiljkovic -

A warm romantic drama with a real emotional punch.

~ Rebecca Naughten -

Entirely constructed from flaws, it's in a class with Ultraviolet.

~ Jennie Kermode -

People drift through the scenes occasionally but are more like ghostly hints of civilisation, ephemeral against the landscape.

~ Amber Wilkinson -

Enigmatic in form, encyclopaedic in scope, and leaving room between its lines for many different readings, Sparrow's 1 encapsulates, much like the book from which it takes its name, the whole of human experience in eccentric, elliptical cross-section.

~ Anton Bitel -

The delight of the drama stems from the well crafted characters, while its heft hinges on toxicity that may not be immediately obvious.

~ Amber Wilkinson -

The script is lean, the sword edges keen and the characters mean.

~ Amber Wilkinson -

An extraordinarily thorough film.

~ Jennie Kermode -

It’s the acting that carries it, and naturally Farahani, one of the finest talents of her generation, does not disappoint.

~ Jennie Kermode -

Subtle observations about the racism that underpins this superficially idyllic society pepper a film which repeatedly forces its hero to question his assumptions.

~ Jennie Kermode -

The film concludes with what is probably the most influential special effect in the history of cinema.

~ Donald Munro -

Bethmann understands the situation well, but her closeness to the teenager and the personal character that the film takes on as a result is something else.

~ Jennie Kermode -

So carefully balanced is this that the film could almost have emerged as a romcom, and it’s that possibility, that clash between the absurdity that cinema has taught us to expect and the bitterness of real life, that makes it so effective.

~ Jennie Kermode -

Through the lens of the men’s romance, Onir takes in a good deal more, exploring the complex realities behind assumptions of prejudice and the myriad factors that go into making each of us who we are.

~ Jennie Kermode -

Throughout the film there is a sense of play, and even as the story evolves to take on darker material, something of that lightness, that happy-go-lucky quality remains.

~ Jennie Kermode -

The film hinges on amazing vocal work by Lalama.

~ Jennie Kermode -

There’s a genuine unpredictability to Honey Bunch, both structurally and thematically.

~ Jennie Kermode -

Where the episodes work is when they have a driving, kinetic energy about them. When they don't it's repetitious loop.

~ Donald Munro -

The film, directed by feature debutant Shaun Dozier, retains the density of dialogue you might expect from a stage play but, by leaning into the theatrical nature of the proceedings, Dozier is in some ways able to make this into a virtue.

~ Amber Wilkinson -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

Coogan is well cast in this tricky role, moving easily from humour to heartbreak..

~ Jennie Kermode -

Manizha Bakhtari may not be a household name but after watching Natalie Halla’s documentary you’re likely to think she ought to be.

~ Amber Wilkinson -

Sung’s own camera plays tricks, placing objects too close in the foreground so that parts of an image are out of focus, like an incomplete memory.

~ Jennie Kermode -

The concept, narrative, dialogue, cinematography and action sequences are elements of Scanners that can't be faulted.

~ Donald Munro -

The film hangs on Pemberton’s performance, and he imbues Doug with a sweetness that makes us feel for him despite his deeply misguided actions.

~ Jennie Kermode -

The delight of the drama stems from the well crafted characters, while its heft hinges on toxicity that may not be immediately obvious.

~ Amber Wilkinson -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

An extraordinarily thorough film.

~ Jennie Kermode -

Writer/director Sandhya Suri - who has a documentary background - is keen to show that everyone plays their part in the prejudices and corruption of the legal system.

~ Amber Wilkinson -

Once again, Guiraudie proves himself the master of setting up a mystery by the means of perfect script economy that functions strictly on “need to know” basis.

~ Marko Stojiljkovic -

The director shows how it’s not just Julie’s tennis skills that have been groomed by the coach but large aspects of her life.

~ Amber Wilkinson -

Cat’s viewpoint predominates, and Zilbalodis has an acute understanding of how the world looks from its point of view, of what catches its attention and how its body follows instinctively.

~ Jennie Kermode -

It’s ironic that a film about a family who have built a perfect facsimile of a life for themselves should feel so overly constructed itself

~ Amber Wilkinson -

Lin and Sun studiously maintain the enigma around Shuo so that we are left guessing as to whether he’s just a disadvantaged teen trying to make his way in the world or a cuckoo in the nest.

~ Amber Wilkinson -