Though he gets relatively little screentime, the underrated Hammer delivers a nuanced performance that forms the film's emotional core.

~ Jennie Kermode -

Kang Yi-kwan's film bristles with life despite his understated style.

~ Amber Wilkinson -

A stylish femme-thriller with good twists and turns.

~ Darren Amner -

The jokes are overplayed and feeble to the point of embarrassment.

~ Angus Wolfe Murray -

The film oozes bad taste like pus from a poultice.

~ Angus Wolfe Murray -

A love story that, despite my sincerest cynicism, allowed me to invest for the slender 90-minute runtime.

~ Scott Macdonald -

Just Friends is less crude than many films of its kind and even made me laugh.

~ Stephen McMorland -

The team's ability to keep filming in chaotic situation is impressive, especially when they are largely amateurs.

~ Jennie Kermode -

A movie that lets you be the judge of inappropriate behaviors and risks worth taking.

~ Anne-Katrin Titze -

While the film is, indeed, freewheeling, some of us prefer to call it out of control.

~ Amber Wilkinson -

Beautifully shot and well acted.

~ Maryam Ghorbankarimi -

Even Banderas' character feels like a cheap knock-off who is not fit to polish the boots of Puss.

~ Amber Wilkinson -

This is a masterful film about the meaning of friendship and the darker sides to human nature.

~ Caro Ness -

It’s nonsense. Tolerable nonsense, but nonsense nonetheless.

~ Jane Fae -

Joe Johnston directs the action scenes (is there anything else?) with professional efficiency.

~ Angus Wolfe Murray -

Norway is the least likely place on earth to find a comedy thriller of this quality.

~ Angus Wolfe Murray -

Please Walt, leave the boy alone.

~ Angus Wolfe Murray -

The film has adventure at its heart and excitement in its pocket.

~ Angus Wolfe Murray -

A well done if inconsequential film driven by well-written, interesting and realistic characters.

~ Nicola Osborne -

This unpretentious, entertaining little comedy of culture clashes marks a solid feature debut for British writer/director Joel Hopkins

~ Keith Hennessey Brown -

This documentary lacks honesty. It presents the sport as a lot more dramatic than it actually is.

~ Josh Morrall -

Ann Hui's quaint little film is enjoyable, despite being too static.

~ Gabriella Trybalska -

Almodóvar exudes a new found confidence.

~ Richard Mowe -

The film's saving grace are the performances.

~ Keith Hennessey Brown -

Though his film is beautifully shot and well acted, Morales sadly lets things fall apart somewhat in the last third.

~ Owen Van Spall -

Swinton is mesmerising as a messed-up drunk.

~ Amber Wilkinson -

A celebration of middle-class miasma.

~ Angus Wolfe Murray -

The exploits of a masked hero and villain.

~ Keith Hennessey Brown -

Franju beautifully captures the style of his silent serial models with intertitles, irising and other archaic effects, while also using his camera in a thoroughly modern and personal manner.

~ Keith Hennessey Brown -

Jucy may at times take on the ramshackle amateurishness of the play in which Jackie and Lucy appear – but it more than makes up for this with an enthusiasm and vibrancy that ensures its judiciously brief duration breezes by.

~ Anton Bitel -

Jim Finn’s awkwardly placed film is unsettling by its approach as well as its subject matter.

~ Chris -

Côté deliberately refuses to manufacture a conclusion, leaving it to us to make of it what we will.

~ Amber Wilkinson -

It provides some compelling insights into the fear and distrust still prevalent in post-Taliban Afghanistan.

~ David Haviland -

The soundtrack is, of course, superb, and the television appearances and bootleg live videos testify to how charismatic Joy Division were as live performers.

~ Daniel Hooper -

Traviss uses a multiple flashback/forward technique, designed to confuse you so much you won't notice that the MI6 agents are behaving like suspicious characters from an Edgar Wallace B-picture.

~ Angus Wolfe Murray -

As wild as it seems at times, the film is deeply grounded in an emotional truth for each of the protagonists.

~ Anne-Katrin Titze -

The film shows how easily an individual can be domestically, emotionally, politically and legally marginalised.

~ Michael Pattison -

A meditative miniature of hypnotic grace.

~ Rebecca Naughten -

Ustaoglu doesn't fake it for entertainment's sake. She's the real thing.

~ Angus Wolfe Murray -

There's a wonderful flexibility to Fukatsu's performance as a woman who bears endless slights as she struggles to retain her decorum.

~ Jennie Kermode -

Since the film so closely follows the couple, it is vital that we feel this sense of alienation and despair, and feel it we do.

~ Caro Ness -

This film is not an encyclopedia entry but a living, breathing adventure ride into French cinema through the eyes and ears of the filmmaker.

~ Anne-Katrin Titze -

Journey 2: The Mysterious Island is a good example of bad storytelling.

~ Donald Munro -

As well as being brain-dead, the plot is nasty.

~ Angus Wolfe Murray -

Move over, Damien.

~ Moominkat -

What also contributes to the film's success is its timeliness and the myriad little references and in-jokes that place it in a darker context.

~ Jennie Kermode -

Better standard camera techniques and catchier tunes would be more likely to ensure box office success.

~ Max Blinkhorn -

Slowly but surely the wonder of moving pictures bleeds to death in the corner of your mind

~ Angus Wolfe Murray -

Engaging in approximately the same way that a shoot-em-up arcade game is engaging.

~ Jane Fae -

Essentially a well crafted, intelligently structured film, considerably more complex than it looks on the surface.

~ Jennie Kermode -

Pity and then guilt are the two dominant emotions that this film elicits.

~ Susanna Krawczyk -

Action moves at a pleasing zip with an early fight scene setting the tone with spectacle but no wall-of-noise aggression.

~ Sophie Monks Kaufman -

A yukfest of superatural proportions.

~ Angus Wolfe Murray -

Having the director's name in the title implies there's another Ghosts Of Mars somewhere. If so, choose it, because this has feathers and won't live to see Christmas.

~ Angus Wolfe Murray -

It's really a vehicle for Joan Crawford as Vienna, a woman holding her own in a brutal world through sheer force of personality.

~ Jennie Kermode -

That the film is so close to parody is partly a mark of its sincerity.

~ David Haviland -

The true weakness of the film is the script - a single gag runs through it.

~ Angus Wolfe Murray -

Art, or arse? Well, we certainly see plenty of Toth's behind as she orgasms elderly blokes back to health.

~ Amber Wilkinson -

There is a reasonable amount of sarcastic wit, stereotypical female hang ups and ridiculously embarrassing situations to satisfy.

~ The Dude -

Cage takes commanding ownership of the somewhat familiar material and milieu.

~ Richard Mowe -

Jodorowsky, amazingly vigorous at 84, is never anything less than captivating, funny, and passionate when on screen.

~ Owen Van Spall -

What is most surprising about this film is not the dilligence with which Sundberg and Stern set about following the course of Rivers through a year of her life - although that is certainly in evidence - but how incredibly welcoming she is.

~ Amber Wilkinson -

It is always wonderful when a film about a writer you admire produces sentences - be it in dialogue, commentary or excerpts you overlooked or forgot from the published texts - that are so poignant in the here and now and feel brand new.

~ Anne-Katrin Titze -

As well as having an eye for the dramatic – such as yards of cloth tumbling from a height or flames licking up a wall – Yimou also has a way of conveying the emotion of a scene with incredible brevity.

~ Amber Wilkinson -

Director Destin Daniel Cretton takes it at the right pace and avoids made-to-measure emotional hooks.

~ Angus Wolfe Murray -

The heart of the film is a performance from Harry Gilby, in a feature debut - ably managing to convey not only the struggles but the strengths of young Charlie in the face of any number of vicissitudes.

~ Andrew Robertson -

All its genre elements are the neat packaging for some grim state-of-the-nation commentary, showing an aspect of Iranian society that is seldom explored on film.

~ Anton Bitel -

Haddon is excellent in the lead.

~ Jennie Kermode -

Davis captures not just the emotional turbulence of Bunny's life but the sheer physicality of it.

~ Amber Wilkinson -

There's a noirish aspect to it which, in places, elevates it beyond run of the mill thriller territory.

~ Jennie Kermode -

Both sides of the political spectrum have arguments about how the law and justice are not the same. While Callahan and his .44 were making that case one bullet at a time, Juror #2 is a lot slower, with plenty more sitting down.

~ Andrew Robertson -

So riddled with logic gaps, dumb character decisions and simple confusion about how we should view the entire conceit, that the actual genetic recreation of dinosaurs from 65 million years ago starts looking believable in comparison.

~ Owen Van Spall -

In contrast to the visions his work gave us, now used in the background of many a documentary, the latter part of this one is very traditionally constructed, mingling direct-to-camera interview with still photographs from his chaotic years.

~ Jennie Kermode -

Extraordinarily exciting and often disturbing PG-rated stuff.

~ Scott Macdonald -

This adaptation of Sean O’Casey’s play about a Dublin family trying to get by might best be described as one for completists, in terms of Alfred Hitchock’s body of work.

~ Amber Wilkinson -

The proverbial buzz surrounding Juno is, like, totally justified.

~ Paul Griffiths -

It is a striking audiovisual style which rescues this production from many of the more hackneyed tropes of British social realism and urban grit.

~ Anton Bitel -

A compelling yet gentle ride.

~ Richard Mowe -

Creates hauntingly evocative, empty spaces that bleed history.

~ The Exile -

There's so much great material here that it would be impossible to make it into a dull film.

~ Jennie Kermode -

Despite its winning formula of talent, concept and visual execution, Jumper feels like a slightly anaemic first instalment.

~ Paul Griffiths -

It's a far from perfect film, but it's a lot better than the critical consensus suggests, and at the heart of it is a fascinating character study.

~ Jennie Kermode -

Entertaining, adventurous and funny, certainly not a mental whiteout as expected

~ Angus Wolfe Murray -

If you liked the first film, this is a lot more of the same, with the curmudgeonly DeVito adding enjoyment to the framing sequences.

~ Amber Wilkinson -

The result is a slight but sweet evocation of a hazy day of summer when potential hangs like pollen in the air.

~ Amber Wilkinson -

This play - and this production - belongs to Brutus, however, played by Harriet Walter with a distilled ferocity that brings some of Ian McKellen's best Shakespearean work to mind.

~ Amber Wilkinson -

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 -

The title might sound risque but the end product is as safe, cosy and unoriginal as a Now That's What I Call Music Christmas gift.

~ Amber Wilkinson -

Whatever your own personal circumstance, if you are trans, there is much here that you are likely to find very recognisable.

~ Jane Fae -

Julia is a film about food and about the change in attitude towards cooking one woman could spark.

~ Anne-Katrin Titze -

A beautifully shot fun romp that isn't afraid to question received ideals of morality and find them wanting.

~ Amber Wilkinson -

There's layer upon layer of clever artifice here, yet the result is something that feels fresh and sexy.

~ Jennie Kermode -

This is a mainstream consideration of Garland's life but Zellweger brings fine art to its more broad brush moments.

~ Amber Wilkinson -

Intriguing in its ideas but a little heavy-handed in the application.

~ Jennie Kermode -

A simple piece of mindlessly gratifying entertainment.

~ Scott Macdonald -

Religion can often become the whipping boy for problems, especially in the Middle East, but Kohn's documentary shows how the real issue lies in the sexist traditions not Islam.

~ Amber Wilkinson -

The film covers all the bases and yet fails to hit a home run

~ Angus Wolfe Murray -

The tacked-on nature of Judas Kiss' sci-fi element leads to it becoming a point of embarrassment.

~ Niall McCallum -

Plemons’s performance captures the unease and guilt Mitchell feels, while reminding us that the agent is also putting on a performance during his meetings with O’Neal.

~ Jeremy Mathews -

The film is at its strongest when it's exploring the nature of manipulation and who, exactly, is manipulating whom.

~ Amber Wilkinson -

The director does achieve some quiet drama - a kiss on a cheek, an attempt at breast feeding - but elsewhere, it feels as though a committee was insisting on moments of 'quirky humour'.

~ Amber Wilkinson -

It is not so much individual people who cause the problems but rather the constricting cultural circumstances that dictate everyone must play their allocated role.

~ Amber Wilkinson -

The film is at its best when Tati is on his own with a simple prop like the bike, when his distinctive personality comes to the fore.

~ Amber Wilkinson -

Great fun.

~ Andrew Robertson -

A ripping yarn of the finest sort with good work all round.

~ Jennie Kermode -

The main object of Llorca's ire is not his characters - it's clear he has a soft spot for them, as soon will we - but the rather the vacuous nature of parts of the Spanish art scene.

~ Amber Wilkinson -

Clavellino's approach is unsentimental and all the more believable for that.

~ Amber Wilkinson -

A strong narrative voice-over is cut with insights from black commentators, providing a far more interesting, more rounded picture of Baker than I had before.

~ Jane Fae -

Although the story is slight, Cheng treats the subject matter with care, allowing a slow but certain heat to build between José and Luis.

~ Amber Wilkinson -

Jonathan is an ideal subject because he's completely open to the world.

~ Jennie Kermode -

It is carefully crafted, the work of a film-maker who is very in charge of what he is doing.

~ Jane Fae -

The animation is just part of the film’s major selling point, which is unpredictability.

~ Amber Wilkinson -

Phoenix strips the skin off your eyeballs. What happens next is a gasp away from easy.

~ Angus Wolfe Murray -

As Jojo, Davis delivers one of the finest performances of the year.

~ Jennie Kermode -

I can't really fault the action sequences. I can take issue with just about everything else.

~ Andrew Robertson -

Evan Schiff's editing is probably the best seen in any film of the past year, and Dan Laustsen's cinematography allows director Chad Stahelski to explore noirish landscapes without sacrificing the high energy vibe.

~ Jennie Kermode -

The film is rich and informationally dense, like all Exhibition On Screen’s work. It carefully situates Sargent’s art in context, explaining key concepts for newcomers with sufficient wit and insight that others need not worry about finding themselves bored.

~ Jennie Kermode -

The tendency to set up dramatic moments only to drown them in sentiment hurts the integrity of the film.

~ Angus Wolfe Murray -

If you're interested in the technical details of the sport or the process of filmmaking, you may find Julien Faraut's unapologetically artsy film fascinating.

~ Jennie Kermode -

It may sound like a spurious stream-of-consciousness from someone who’s taken too many drugs in their life, but it’s not.

~ Sophie Monks Kaufman -

Perhaps everything doesn't quite stack up into a neat narrative but as a film that explores the frosty hinterland between sociopathy and more simple teenage boredom it follows through.

~ Amber Wilkinson -

Made as a future cult classic.

~ Angus Wolfe Murray -

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

~ Andrew Robertson -

The film is a heartfelt cry for someone to stop these children being exploited so cruelly, but offers no easy answers.

~ Jeff Robson -

English is given more depth and there's a real story that doesn't depend on the central joke.

~ Jennie Kermode -

A capable actress can do only so much to make herself watchable in a movie that is often not.

~ Marko Stojiljkovic -

A comprehensive and immaculately compiled collection.

~ Anton Bitel -

Makes you realise that its not just the horses that have been ridden hard for years but their jockeys, too.

~ Amber Wilkinson -

The whole film adheres to the director’s credo that simple story-telling does not mean a lack of depth or subtlety, or roughness around the edges.

~ Richard Mowe -

The film's gentle poetry conjures up flavours in the imagination.

~ Jennie Kermode -

Richly atmospheric and often deeply disturbing, Jindabyne is a superb example of well-crafted drama, cinema taking on real issues without ever losing its narrative edge.

~ Jennie Kermode -

The film’s initial loose and enjoyable construction gradually drifts towards a drawn-out and repetitive melodramatic conclusion.

~ Amber Wilkinson -

Del Toro and Amalric with contrasting acting styles make a magnetic duo yet the ponderous detail of the therapy occasionally bogs down the film, so much so that even the two actors cannot surmount it completely.

~ Richard Mowe -

Deftly edited with an eye for detail, this is a personal story which reminds us that history is comprised not simply of great events but of human experiences.

~ Jennie Kermode -

You’re likely to come way with a sizeable to-watch list at the end.

~ Jennie Kermode -

It’s quite a maze to pick your way through as a viewer and Stone does his best ease the path.

~ Richard Mowe -

This is a bleak portrayal of a generation and, yet, despite this it has an eloquence and even a sense of romance.

~ Amber Wilkinson -

This is a film that never takes the easy route of eroticising its subject for the audience.

~ Jennie Kermode -

Italy is the classical home of the diabolical morality tale, and beneath all the sophisticated modern trappings that's exactly what we have here.

~ Jennie Kermode -

Finding a child with as much screen presence as Niemenmaa would be impressive in any circumstances.

~ Jennie Kermode -

Much of the film is concerned with loneliness.

~ Jennie Kermode -

Jesus Shows You The Way To The Highway reboots the genre by both using and subverting its conventions.

~ Jane Fae -

The simple narrative is less important than the Vajdas' scrutiny of the psychology and complex nature of addiction, with Arámbula's performance magnetic in its vulnerability.

~ Amber Wilkinson -

Franco clearly understands the dynamics of the form, and knows how to conjure up the right atmosphere, all dark shadows, furtive glances and sudden lightning flashes.

~ Keith Hennessey Brown -

The real star here is Marine Altan's cinematography, investing locations both lavish and drab with the kind of spiritual wonder seen only through the eyes of those who have always been outsiders.

~ Jennie Kermode -

A gorgeous palimpsest of a film.

~ Jennie Kermode -

Surprisingly good.

~ David Stanners -

What's remarkable about Crowe's cinematic high-point is how he achieves conventional things in unconventional ways.

~ Stephen Carty -

This may be Will Gilbey’s first feature as director, but his background as an editor means he knows how to construct an action sequence, and he delivers one great set piece after another.

~ Jennie Kermode -

Jennifer's Body is a sexy, smart mouthed horror that cannot be knocked for ambition or cleverness.

~ Darren Amner -

Hill, who is only a couple of years older than her 15-year-old character, has a fierce screen presence, adeptly balancing Sarah's ballsiness and vulnerability.

~ Amber Wilkinson -

With Maïwenn herself spiritedly taking the role of the courtesan and Johnny Depp enlisted to play the Monarch Louis XV, there should have been more sparks flying.

~ Richard Mowe -

The viewer has to be keyed into Akerman's cinematic language, how she portrays boredom, claustrophobia, isolation.

~ Donald Munro -

Eternal greatness encounters sacrifice and the film dares to musically tackle questions of complicity in evil. Péguy's socialism, patriotism, and Catholicism mix well with the eager young actors. This is unlike any film you have ever seen.

~ Anne-Katrin Titze -

By focusing on just one person and her day to day struggles, Curran throws the US gun crisis into sharp relief.

~ Jennie Kermode -

Megias acquits himself well, presenting us with a complex character whose emotions run deep.

~ Jennie Kermode -

Wilkes collects moments in his life the way Jay collects images.

~ Jennie Kermode -

Brought up a notch by a fine cast, some genuinely funny scenes and a curious darker streak that lies beneath the laughs.

~ Owen Van Spall -

Jaws is a well-made, nuanced, gamble of a film that paid off handsomely and assured Spielberg's future.

~ Chris -

There’s plenty of judgement to be passed, especially by cranky old writers like myself, but Mandelup does an admirable job of presenting her subjects on their own terms.

~ Jeremy Mathews -

Harris shines in the central role.

~ Jennie Kermode -

Stunningly shot by cinematographer Timo Salminen, who illuminated landscapes as if they were Eckersberg paintings, the film is framed in 4:3 aspect ratio, creating the sense that there's always something just out of sight.

~ Jennie Kermode -

The powerfully cathartic ending of The Bourne Ultimatum is a long shadow to get out of, and this film never quite manages it.

~ Owen Van Spall -

This is Ray Harryhausen's work at its finest; it was the film he was most proud of and the skeletons, stop-motion stars of a prolonged battle sequence, were his favouite creatures.

~ Jennie Kermode -

The breadth and depth of Japon belies its standing as a directorial debut.

~ Amber Wilkinson -

The children tell us in their words and in their silence all we need to know.

~ Val Kermode -

Gentle, entertaining, functional.

~ Andrew Robertson -

The film is both intense and frustrating.

~ Jane Fae -

Adapting Yordan Radichkov’s spiky 1974 play, co-writer/director Andrey Paounov creates a tremendous atmosphere.

~ Jennie Kermode -

This is one of the most visually ravishing period dramas ever.

~ David Graham -

The closer and more personal this documentary gets, the more it opens up to the largest of issues.

~ Anne-Katrin Titze -

There’s nothing to challenge or expand upon the average viewer’s pre-existing knowledge of who Janey is.

~ Jennie Kermode -

The comedic interplay between the two leads has that intimate quality like squabbling between family members.

~ Jennie Kermode -

An entertaining and surprisingly dark period drama.

~ Daniel Hooper -

Stevens uses the Nosferatu framework to tell a story about a marriage.

~ Jennie Kermode -

It is as if everyone was waiting for this to test the limits of their talent.

~ Angus Wolfe Murray -

Make no mistake: despite the big cast, this is the sort of thriller you can safely snooze through on a plane, connecting with ease the dots between the clichéd fights and chases.

~ Anton Bitel -

Two of Jackie Chan's most popular films.

~ Jennie Kermode -

The language is street smart, rather than clever chic and the acting inspires.

~ Angus Wolfe Murray -

This is a film full of cultivated emptiness.

~ Jennie Kermode -

Every year sees the production of dozens of thrillers trying to do what this one does. Jackdaw leaves them in the dust.

~ Jennie Kermode -

Jackboots On Whitehall isn't afraid of stomping on a few tender sensibilities and its smut level is set to 'stun'.

~ Amber Wilkinson -

Bruce is always one step ahead, which keeps tension levels low.

~ Angus Wolfe Murray -

Earnshaw doesn't shy away from the fundamentals of Jacinta's situation and her relationship with addiction.

~ Amber Wilkinson -

Gilliam's monster, when we finally see it, is so hideous a thing that we can only be grateful this film is played for laughs.

~ Jennie Kermode -

This is a relationship drama, simple and direct. It’s well-acted and the script speaks volumes and none of it appears lost in translation.

~ Scott Macdonald -

Oakes is careful not to make his film hagiographic. Jim is presented as restless, troubled by a sense of guilt at his advantages, and sometimes naive.

~ Jennie Kermode -

The coolest kid on the indie block has a truly distinctive voice.

~ Anton Bitel -

Be throughly out-cooled by America's finest hipster.

~ Anton Bitel -

There is a surreal imagination at work here.

~ Angus Wolfe Murray -

It doesn't always rely on rude words and shock value, but there's a good smattering in there.

~ Keith Dudhnath -

Loach gives voice with eloquence to the disenfranchised and celebrates the spirit of working people.

~ Richard Mowe -

The film fails to fill those spaces between speculation and that other thing - truth

~ Angus Wolfe Murray -

In its quiet way, the film creates a feeling of building momentum, of a great change about to occur.

~ Jennie Kermode -

Its play with lighting effects, colour gels and jarring camera angles makes everything - both on earth and below - seem an off-kilter nightmare.

~ Anton Bitel -

The numerous fight sequences are a success

~ Keith Hennessey Brown -

The trouble with this film is that Davis' colourful central performance leaves everyone else looking slightly anaemic.

~ Jennie Kermode -

It's deliciously grown-up.

~ Angus Wolfe Murray -

A well-polished calling card for writer/director Simon Welsford.

~ Paul Griffiths -

Seidl seems interested in these people precisely because they’re all too easily judged by others, even though their needs and desires are relatably ordinary.

~ Michael Pattison -

What makes Jesus' Son uniquely different from the neo-realistic traditions of waste and degradation movies is its ability to avoid cliché, as well as its skewed, end-of-the-line humour.

~ Angus Wolfe Murray -

The film is clever, funny and tragic.

~ Angus Wolfe Murray -

The film’s risks pay dividends dramatically.

~ James Benefield -

Jesus Christ Saviour is more a challenging and interesting curio for fans of Kinski and Herzog's collaborations than a movie in its own right.

~ Scott Macdonald -

By deftly avoiding sensationalism, Jesus Camp provides real insight into the lives of those who live in this 'parallel America'.

~ Jennie Kermode -

When it comes to the acting, the fact that the children are all non-professionals, fuels the sense of reality that underpins the action.

~ Amber Wilkinson -

There is no question that Petzold is his own film-maker.

~ Keith Hennessey Brown -

The atmosphere and aesthetics are engrossing and go a long way to carrying the show.

~ Keith Dudhnath -

This is a change of pace for Segel and it allows him to showcase the full breadth of his talent, creating a very full-on character who, beneath his bluster, has a surprising amount of depth.

~ Jennie Kermode -

Frequently amusing but rarely hilarious

~ Daniel Hooper -

Prepare to laugh till your sides hurt.

~ Caro Ness -

The story has built-in limitations.

~ Angus Wolfe Murray -

It is to Salva's great credit that he retains credulity in the face of impossible fear.

~ Angus Wolfe Murray -

One of the greatest French directors.

~ Amber Wilkinson -

Jealousy is a carefully constructed film with plenty of family ties for the director.

~ Anne-Katrin Titze -

The best scenes in JCVD have a loose playfulness that redeems the angst.

~ The Exile -

This is either an inspired satire on the state of popular cinema, an ego-trip of mammoth proportions or a bucketful of vomit.

~ Angus Wolfe Murray -

The idea is more literate than cinematic.

~ Angus Wolfe Murray -

Beyond the ridiculous premise, there's nowhere for this story to go, and we don't get enough shark action to make up for it.

~ Jennie Kermode -

Jaws 3-D ultimately suffers from the same problem as many cute animal films aimed at kids. It spends far too much of its time on boring humans.

~ Jennie Kermode -

Completely compelling viewing.

~ Nicola Osborne -

It's a shame that nothing of real genius, or imagination, occurs within this unique environment.

~ Gator MacReady -

The cinematography is startling, beautiful, haunting.

~ Andrew Robertson -

It is to the film's great credit that its politics remain subtle.

~ Anton Bitel -

If the film is at times less than enthralling, the overall questions it raises are crucial and rarely tackled.

~ Chris -

Even viewers who have never cared much about show jumping, should be drawn in by how the movie deals with decision making, risk taking, self doubt, and family obligations

~ Anne-Katrin Titze -

The writing is witty and observant, without being cruel.

~ Angus Wolfe Murray -

The film is full of sharp little observations that retain the power of surprise, or discomfit in subtle ways.

~ Jennie Kermode -

The animator brings to full life precisely what his rulers were endeavouring to keep repressed: the nightmarish, the unconscious, the nonsensical, the abject, the uncanny, the insatiable, the immoderate, the ecstatic.

~ Anton Bitel -

The director has uncovered a wealth of archive material.

~ Richard Mowe -

The film has a Wendy Mitty charm, although precious little else.

~ Angus Wolfe Murray -

Westerns require action and pace not brooding silences and broken dreams

~ Angus Wolfe Murray -

Pleasing enough for those seeking nothing deeper than formulaic romance, but the pleasantness of an employment does not always evince its propriety.

~ Jennie Kermode -

Frequent languid pacing and an occasional tendency to rehash similar points and stories lends the film a roughshod quality. Technically it's excellent.

~ Scott Macdonald -

Morgen infuses new life into Jane Goodall's groundbreaking wildlife study that took place over half a century ago.

~ Anne-Katrin Titze -

Despite all the drama, ultimately, if you've seen one episode, you've seen most of the series.

~ Monica Wolfe Murray -

This film feels fresh and real even to those of us who have been there.

~ Jennie Kermode -

That which is seen is beautiful, that which is unseen intriguing.

~ Andrew Robertson -

Good value for money at less than 30 quid.

~ Amber Wilkinson -

Pigs go wild!

~ JessPeeps (aged four) -

Britto is, essentially, targeting only low-hanging fruit.

~ Amber Wilkinson -

Bilov's turn is excellent, working well with the rest of the cast to create an air of menace around him that never disappates.

~ Andrew Robertson -

The script is clunky and the plot cannot be taken seriously

~ Angus Wolfe Murray -

It is as though Glaudini expects character tics to substitute for plot development.

~ Amber Wilkinson -

Mushy as a melted doughnut and so absurd it's cute.

~ Angus Wolfe Murray -

The only thing Martens takes seriously is his humour - and it pays off handsomely.

~ Amber Wilkinson -

Brody's concentrated performance, as a man who may, or may not, be going out of his mind, creates a tense, claustrophobic atmosphere that pervades the film.

~ Amber Wilkinson -

Soiled underwear and vomit are given high marks.

~ Angus Wolfe Murray -

It gave me a sum total of four large belly laughs, a couple of outright chuckles and a whole lot of burying my head in my hands in shock/distaste/pain.

~ Scott Macdonald -

Ivo Pietzcker's performance is amazing.

~ Andrew Robertson -

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 -