Leaning slightly more towards action than the fascist allegory-orientated original.

~ Stephen Carty -

In making V a symbol of vengeance, valiance and victory, V For Vendetta does for a letter of the alphabet what Kill Bill did for the colour yellow.

~ Anton Bitel -

The chemistry of film and filming is such that it makes something special.

~ Andrew Robertson -

The sobriety of her narrative and her attention to detail, mirrored in Thomas’ choice of illustration, gives her a good deal of credibility.

~ Jennie Kermode -

Even its vapidity fails to contribute anything new to the subject matter it's dealing with.

~ Jennie Kermode -

An immensely dark, macabre and unsettling work.

~ James Gracey -

The most restrained and yet audacious, unadorned and still intelligent picture the Argentinian auteur has made.

~ Levan Tskhovrebadze -

A screwball comedy with soul, drama and even a song.

~ Symon Parsons -

Despite comedic pitfalls, denser than the Indonesian jungle, the Tomster comes good.

~ Shaun Davis -

Caution - and science - are thrown to the wind, and it's all action.

~ Jennie Kermode -

There is strangeness here but of an intriguing rather than repellent sort.

~ Amber Wilkinson -

Hong Eui-jeong directs with such assurance and such flair that it's hard to believe this is her first feature.

~ Jennie Kermode -

Despite the hammy acting and the shaky script, there are moments of real brilliance here, with a chase through woodland highlighting the director's mastery of focus and light.

~ Jennie Kermode -

Some of the acting is just atrocious.

~ Jennie Kermode -

Exaggerated acting and an over-the-top script keep the darker elements of the film from being upsetting. It gets its social message across whilst maintaining a light and vigorous tone.

~ Donald Munro -

Lorcan Finnegan never allows us to lose sight of the absurdity of the situation, nor of the real life absurdities that it points up.

~ Jennie Kermode -

Cassigoli and Kauffman capture the muscle of family life as it bends, stretches and, from time to time strains, to accommodate all of its members.

~ Amber Wilkinson -

Taking the hand-drawn style from the original books, the animation is spare and has an engaging childlike quality.

~ Amber Wilkinson -

This isn't just an inspiration ticket - it's a series of portraits of people who would be interesting and enjoyable to be around whether they were blind or not.

~ Jennie Kermode -

In one shot, in absolute silence, we watch a single leaf fall down from high above; it is a moment so compelling that you will hesitate to interrupt it with a breath.

~ Jennie Kermode -

Silva brings an unusual level of sensitivity to an action role.

~ Jennie Kermode -

A premiditated attack on Catholisism wrapped in an intriging, and often shockingly funny, story.

~ Shaun Davis -

Littered with sexual innuendo that is about as funny as drowning kittens.

~ Darren Amner -

Coppola demonstrates remarkable confidence.

~ Angus Wolfe Murray -

The heat of summer pulses beneath the action and we can virtually smell the sweat and decay as the sound of flies or a gathering storm punctuate the soundtrack.

~ Amber Wilkinson -

There is much to admire about this film.

~ Jennie Kermode -

Here, the old Chilean songs fulfill their original purpose, as storytelling elements, but now they bear the weight of a new history.

~ Jennie Kermode -

The strength of this film is in Chaverri’’s finely judged performance.

~ Jennie Kermode -

Handsomely lit and making good use of rural locations on the outskirts of New Orleans, A Violent Separation conjures up a strong sense of place and is effective in capturing the mood of the community.

~ Jennie Kermode -

Styled like the Ladybird Book of Cronenberg.

~ Jennie Kermode -

Although this is Canadian it has the coolness of the European arthouse, drawing on nature photography at key moments to reinforce the moody sense of primal danger.

~ Amber Wilkinson -

This is not the despotic kingdom of Rambo but something worse, increasingly alien, a murky desperate Myanmar.

~ Andrew Robertson -

The writer-director team of Mathieu Neart and Stéphan Castang shows a repeated willingness to take risks which really elevate the film.

~ Jennie Kermode -

What is clear is the genuine affection held for its subjects, but that makes some elements of it all the more galling.

~ Andrew Robertson -

Satoshi Tsumabuki gives a suitably oblique central performance but the script's machinations sadly work against his character's credibility.

~ David Graham -

Naturalism is the lifeblood of Das’ films and this one is no different

~ Amber Wilkinson -

All the actors here are non-professionals and Das elicits extraordinarily natural performances from them.

~ Jennie Kermode -

Using simple woodland locations and a cluster of crumbling old buildings, McCormack sets out to build atmosphere by layering on the fog.

~ Jennie Kermode -

Thomas is one of those rare directors who knows how to take old tricks and imbue them with fresh power.

~ Jennie Kermode -

Above all, the film leaves you with the understanding that this woman’s life could not have been lived any other way.

~ Max Blinkhorn -

The relationship between what is viewed and the viewer really come to the fore along with some troubling considerations of the way that fiction film and reality television may have an impact on the way people filter factual footage.

~ Amber Wilkinson -

When the film isn’t being didactic, there’s some good dialogue here.

~ Jennie Kermode -

A painstakingly curated trailer reel that pays affectionate if sometimes wry tribute to a bygone chapter in the history of genre cinema.

~ Anton Bitel -

A consciously downbeat film in which there can never be any guarantee of salvation.

~ Jennie Kermode -

Nothing else has captured quite so succinctly the dynamics of the information revolution or its impact on what it means to be human.

~ Jennie Kermode -

Its iconographic imagery is both sumptuous and awful, its visual wit as sharp as its verbal wit, and undercutting it all is a desperate sense of pathos.

~ Jennie Kermode -

As in his previous work, Green does a lot with suggestion, persuading viewers they've seen more than they actually have, but there's still plenty of squirting blood and no small helping of gore.

~ Jennie Kermode -

Daring, and well ahead of its time.

~ Shaun Davis -

Blasko tells the story with a plainness which adds to its power, sometimes using news-style framing as if to remind us of the political moment which we’re living through.

~ Jennie Kermode -

The best movie this wonderful writer/director has made in a long time; funny, sharp, perfectly paced and rather gorgeously shot, with a quartet of cracking parts for excellent actors placed firmly at its centre.

~ Jeff Robson -

Silly though it my be on the surface, the film's success is not just down to luck.

~ Jennie Kermode -

Compelling viewing.

~ Jennie Kermode -

Chaotic and fragmented, VHYes initially snares the viewer with simple curiosity value and then, as distinct themes and characters begin to emerge, becomes harder and harder to look away from.

~ Jennie Kermode -

This isn’t up there with the best of the V/H/S series overall, but it’s entertaining enough.

~ Jennie Kermode -

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

~ Jennie Kermode -

By far the best instalment to date, with a stylistic consistency and a sharp wit which make it worth seeking out regardless of your feelings about the found footage genre as a whole.

~ Jennie Kermode -

The movie hits some nasty sweet spots but also falls foul of numerous genre cliches, both old and new.

~ Neil Mitchell -

Full of gruesome violence but with a lot of heart, VFW is best watched as part of an audience, or at least with a group of friends and a good quantity of drink.

~ Jennie Kermode -

A story which is, ultimately, about learning to think differently, to change the way that we direct our attention and resources in order to open up the possibility of renewal.

~ Jennie Kermode -

A miniature masterpiece.

~ Angus Wolfe Murray -

The ensemble playing is on a level of communication that hardly requires a script, flowing like sick down the front of a summer dress.

~ Angus Wolfe Murray -

My pick for the greatest film ever made.

~ Scott Macdonald -

Director Joel Schumacher is subdued.

~ Angus Wolfe Murray -

The writer/director deploys a deft amount of black humour but there's always a disturbing edge to the mood.

~ Amber Wilkinson -

Maura Delpero’s multi-layered drama sees its heroine growing up and coming to understand the world in new ways at the same time as the village itself shifts, not altogether willingly, into the modern era.

~ Jennie Kermode -

More than one participant here talks about the sense of voyeurism which these paintings create – the idea that one is witnessing moments not meant for the public gaze.

~ Jennie Kermode -

Once again, the power of Leigh's films derives primarily from his obsessive attention to detail.

~ The Exile -

Venus is delightful. Gentle. Lyrical. Funny.

~ Jane Fae -

In an era of almost infinite possibilities for entertainment, Venom isn't one to recommend.

~ Andrew Robertson -

With characters coming and going continually, the film is wildly uneven in tone, sometimes broadly comic, sometimes painfully dark. In many ways this suits its efforts to address the chaotic nature of life.

~ Jennie Kermode -

Watching it in the originally intended setting would be exceedingly cool.

~ Chris -

The Velvet Underground will restore your belief in documentaries!

~ Anne-Katrin Titze -

In its quiet moments your senses will be on edge, exploring the breathtaking landscape, alert to what might be hiding there.

~ Jennie Kermode -

This is the closest you'll come to experiencing the allure of fame and the power of illusion.

~ Angus Wolfe Murray -

Distinctly amateurish kung-fu kicks and delightful rubber-suited dinosaur antics can't quite disguise the fact that Steere is a filmmaker who knows what he's doing.

~ Jennie Kermode -

Inti Briones's muddy, saturated black and white imagery complements director Daniela Thomas' tight close-ups and lingering landscape shots in conveying both the paradox of the location and the pressure its inhabitants feel.

~ Jennie Kermode -

Patterson handles the acceleration and deceleration throughout with aplomb, notching things up or down at just the right moments and using inventive camerawork and sound design that encourages you to lean in and listen during the film's quieter moments.

~ Amber Wilkinson -

A charming and playful consideration of her career.

~ Amber Wilkinson -

Van Helsing doesn't pretend to be anything other than a comic book adventure, but even comic book adventures need some kind of grounding in reality.

~ Tony Sullivan -

Visiting them through the medium of film allows us to appreciate them as the curators intended, moving in close to take in the details, drawing back to take in the full impact of his experiments in colour.

~ Jennie Kermode -

Rebel Without A Cause for grown-ups.

~ Chris -

Well substantiated and delivered with wit and occasional humour by a fantastic cast of beekeepers and related tradespeople who feel passionately about the issues involved.

~ Jennie Kermode -

Co-writer/director George Sluizer manipulates the imagination in a way that is deeply disturbing.

~ Angus Wolfe Murray -

The film takes time to gather pace and discover its true direction. Once there, the story takes hold and won’t let go.

~ Angus Wolfe Murray -

The charismatic Kim Sang-Kyung tends to dominate scenes even when playing a downbeat character, but Kim Kang-woo is impressive in the quieter role of the troubled Park.

~ Jennie Kermode -

Confusion is the name of what stops being a game because after the first hour it's no fun any more.

~ Angus Wolfe Murray -

Profoundly unsettling, richly atmospheric, a milestone in the development of cinematic ‘grammar’ as well as an edge-of-the-seat horror movie to rival the best.

~ Jeff Robson -

Though it’s a bit stagey in places, the film...hits on something meaningful in the way that it uses 18th Century social conventions to address to the discomfort and hypocrisy of a subsequent age.

~ Jennie Kermode -

What might have worked fantastically as a short or as a series of separate sketches scattered through a programme or series becomes exhausting when stretched over 80 minutes.

~ Jennie Kermode -

This is an enjoyable creature-feature, a special-effects showcase on a small budget.

~ Andrew Robertson -

Feuillades indoor sets are still cluttered but outside he makes more use of the openness and of the trappings of modernity: the car, the train, the tram, the movie theatre.

~ Donald Munro -

Portabella's repurposing and reimagining of the elements at Franco's disposal creates something genuinely (and appropriately) otherworldly.

~ Rebecca Naughten -

Though the scenery is vast and beguiling, Gille keeps his camera close, keeps the story small and personal.

~ Jennie Kermode -

The measured camera work focuses on their complex emotions, establishing a claustrophobic atmosphere that carries the weight of the war from across the border.

~ Sergiu Inizian -

The first thing that stands out about the film is the ease with which we can recognise Vai despite her being played by a different actress each time.

~ Jennie Kermode -

This comedy from director Pang Ho-Cheung keeps it saucy and kinky but also playfully satirical in its look at the hyper-banality of the modern Chinese B-grade film business.

~ Owen Van Spall -

Everything is exquisitely shot and wonderful in its alienness.

~ Jennie Kermode -

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

~ Leanne McGrath -

Unfortunately the film is as vacuous as Hollywood at its worst.

~ Keith Hennessey Brown -

Gillespie and Kostanski's real talents become visible when it comes to the special effects work, and here the film excels.

~ Jennie Kermode -

Voice From The Stone is an accomplished piece of work.

~ Jennie Kermode -

The documentary fills a necessary gap in our understanding as long as it is not viewed unquestioningly.

~ Chris -

The pictures are a purer form of cinema verite with subdued colour and an eye that sees but does not pry.

~ Max Blinkhorn -

For a while, at least, The Voices rattles along like a charming slasher comedy of errors.

~ Andrew Robertson -

The problem is one of shifting tone - and one alarming change of character - which mean that despite the central tenet you can't help feeling that you are watching films about different men.

~ Amber Wilkinson -

Dialogue is at a minimum. In films like these, less if definitely more, and, here, less works brilliantly.

~ David Stanners -

The trouble with V-Max is that you couldn't care less about the characters.

~ David Stanners -

Guzzanti’s arguments are coherent, although, they will doubtless play best to those with at least some knowledge of Italian politics.

~ Amber Wilkinson -

One of the most exciting contributions to the genre for years.

~ Jennie Kermode -

Unlike many lightweight mainstream films, its dominant ideologies are refreshingly subversive.

~ Chris -

Kossakovsky takes his time to drink in the visuals and uses his camera creatively to transport us from place to place.

~ Amber Wilkinson -

Ginger Rogers shows that she can truly command a stage without an Astaire to back her up.

~ Chris -

The success of writer/director/star Anna Biller's film hinges on her own charismatic performance, and she just about manages to pull it off.

~ Jennie Kermode -

A celebration of Vito's life and of the work that long outlives him.

~ Jennie Kermode -

This portrait of loss and fractured memory achieves an aching beauty that is without precedent in the director's previous work.

~ Anton Bitel -

McCarthy’s script is spot-on, enchanting us with its characters and giving us food for thought with its wry comment on our world of immigrants and neighbour-strangers.

~ Emma Slawinski -

The action sweeps you away.

~ Angus Wolfe Murray -

What makes von Einsiedel's film work so well is the human - and gorilla - face that he gives to the problem.

~ Amber Wilkinson -

Pathetic.

~ Angus Wolfe Murray -

At over two hours the film is able to be rather slow-paced, though this irritates in the first half especially.

~ Nicola Osborne -

It is the casting of Jónsson that is the film's master stroke. Known as a comedian in Iceland, he brings a great sense of underplayed comic timing to Fúsi, resulting in a big impact from small gestures.

~ Amber Wilkinson -

The documentary-style diary is interspersed with striking single shots of nature.

~ Scott Macdonald -

The atmospheric sequences without narrative are too long, and the grainy texture and nauseating fast pans across neon cityscapes an unnecessary distraction.

~ Emma Slawinski -

Jennifer Connelly has never been more subtle and astute.

~ Anne-Katrin Titze -

Brazilian singer-songwriter-turned-politician Gilberto Gil may be taking a "musical voyage" around the indigenous populations of Australia, Africa and his homeland but documentarian Pierre-Yves Borgeaud is all at sea when it comes to making his point.

~ Amber Wilkinson -

Balances thoughtfulness with scenes of frantic action, existential terrors with acute ones.

~ Jennie Kermode -

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

~ David Stanners -

A respectfully written and admirably performed drama.

~ Luke Shaw -

Being disorientated is part of the game of art - from William Shakespeare to the present.

~ Anne-Katrin Titze -

Filippo Timi is excellent as the young, supremely egotistical Mussolini.

~ Val Kermode -

Fitz's portrayal as someone tortured by his Tourette's and haunted by all he has lost because of it is touching and believable.

~ Lindis Kipp -

The acting is so committed that it sparks the imagination and makes two-and-a-half hours feel inadequate.

~ Angus Wolfe Murray -

Though she's following in the footsteps of many an exploitation movie heroine before her, Kravitz carries it well.

~ Jennie Kermode -

This is a complex film which aims not to show how abhorrent reactionary politics is, but how seductive it may sound to a community tearing itself apart from within.

~ Amber Wilkinson -

Although a small film, it has fireworks in its heart.

~ Angus Wolfe Murray -

Jacquot's film does not pander to the young or inexperienced and requires the viewer to read between the lines.

~ Amber Wilkinson -

A must-see film for action fans.

~ Jennie Kermode -

Intimate, engaging and appealingly optimistic, Village At The End Of The World does its simple job well.

~ Jennie Kermode -

Gentle, touching, amusing, terrifying, shocking and dramatic all rolled up into a beautifully shot and skilfully rendered film.

~ Josh Morrall -

Big on drama, action and shouting, The Vikings is the sort of tale that Norsemen themselves would have appreciated.

~ Jennie Kermode -

There is a fascinating delineation of public and private personas, but Luis evidently expected the footage to be watched by others - he winks at, and talks to, the camera when he is on his own.

~ Rebecca Naughten -

While it doesn’t quite get to the heart of the enigma, it’s still a striking and heartfelt film in its own right.

~ Jeff Robson -

Glen keeps a balance between the plot and the action that is believable.

~ Gator MacReady -

The sense of a community growing up in defiance of such nonsensical conservatism makes the second half hugely rousing.

~ David Graham -

Côté has always had a skill for subverting expectations and here he manages to slide his film from black comedy to outright horror with the smoothness of a snake.

~ Amber Wilkinson -

Judi Dench has become the living embodiment of fine acting, so much so that it is easy to take her for granted. Don't even think it!

~ Angus Wolfe Murray -

Perhaps because of the improvisation - although surely they must have rehearsed like crazy - even when the plot threatens to become contrived, the characters remain true to themselves.

~ Amber Wilkinson -

It's a film with significant problems but as a first time effort it doesn't do too badly, and there are moments when it shines.

~ Jennie Kermode -

Such an important story cannot be squeezed into 106 minutes. The politics are complex and the religious conflict on a Syrian scale of horror

~ Angus Wolfe Murray -

This is a showcase for ideas about new ways to approach the genre. In that regard, it is both entertaining and inventive.

~ Jennie Kermode -

This might be familiar fare, but Fumihiko Sori and his team pull it off with sufficient visual aplomb to keep things highly entertaining.

~ Paul Griffiths -

Kebbell has been waiting for a role like this and he makes the most of it, elevating what would otherwise have been a fairly uninspiring film.

~ Jennie Kermode -

Perhaps the most horrifying aspect of the film is what it reveals about US culture and society more broadly.

~ Keith Hennessey Brown -

More of a sampler than a definitive list.

~ Angus Wolfe Murray -

The star is O'Donnell. As good as he is, he has the look of a lad on a gap year rather than the charismatic leader who might carry this through.

~ Nicola Osborne -

It all hinges on the spectacular fight choreography of Yuji Shimomura.

~ Jennie Kermode -

Seigner is wonderfully playful and her bold risk taking shows how much she trusts Polanski.

~ Anne-Katrin Titze -

Being French, the film has a certain charm, although its premise is flimsy.

~ Angus Wolfe Murray -

O'Toole is simply remarkable. He reinvents himself once again, stealing the breath away with his learned quicksilver wit and charisma.

~ Scott Macdonald -

Bold and intense.

~ Anton Bitel -

With Vengeance, To gives well-worn tropes of the revenge thriller some mannered tweaks, before ultimately turning them on their head.

~ Anton Bitel -

A beautiful, sensual film that offers a new take on that oldest of clichés, the one-night stand.

~ Gary Duncan -

Jacques Rivette's menage-a-quatre tests the survival skills of art cinema aficionados.

~ Angus Wolfe Murray -

The plot has been round the block so often, it makes itself sick.

~ Angus Wolfe Murray -

The film isn’t funny enough. Although there are a number of American Pieisms, sex is pretty tame.

~ Angus Wolfe Murray -

This is a cold and sombre environment from which is borne a cold and sombre film.

~ Amber Wilkinson -

The film’s busyness blankets everything in noise and confusion.

~ The Exile -

The film looks magnificent and the performances, particularly from Witherspoon and Atkins, are exemplary.

~ Angus Wolfe Murray -

A beautifully modulated and measured odyssey.

~ Richard Mowe -

Cartoonish scenes of violence are fed through a deranged Manga ethos to create a film that is uber-kitsch and heavily saturated in post-modern sensibilities.

~ James Gracey -

A distinctly anaemic confection.

~ Jennie Kermode -

The privilege of having a human film crew witness some of the more repulsive vampiric habits is treated with respect.

~ Angus Wolfe Murray -

Stylistically it's all over the place, combining elements of action movie, mockumentary, feminist polemic, history lesson and romance, but it has a freshness and energy that will delight genre fans.

~ Jennie Kermode -

The pacing is slow and deliberate while this eccentric individual with a strong moral streak makes for a less than engaging lead character.

~ Richard Mowe -

The underlying implication here is that organised crime is a social phenomenon: a form of systematic opportunism, it flourishes under certain historical and political conditions.

~ Michael Pattison -

Valley Of Song is a pleasing if utterly unchallenging delight.

~ Merlin Harries -

The natural wonders of the desert can be read as an invitation to reach into the vast barrenness inside.

~ Anne-Katrin Titze -

Screenwriter, Christopher McQuarrie and director Bryan Singer have done a terrific job of resurrecting the Seventies style of war film spiced up with the benefits of modern editing and special effects.

~ Tony Sullivan -

This one's a little bit more for the kids, as far as funny goes, but if that's a bit of a turn off, think of it as a good way to introduce youngsters to an important part of British history.

~ The Dude -

The difficulty with sustaining intensity for any period of time is that it so easily becomes ridiculous, but there is absolutely nothing in this brutal, at times violent film that will have you laughing.

~ Anton Bitel -

A film that from its outset immerses you totally in the world of city Alpha, as well as the humans and aliens that throng its crowded streets.

~ Jane Fae -

It's not long before it all becomes delightfully self-mocking.

~ Val Kermode -

The movie chokes on its cliches. There is no originality, no wit, no tantric tension.

~ Angus Wolfe Murray -

The film is a celebration of innocence, while arguing the point that no parent has a more important role in life than taking care of their children.

~ David Haviland -

Philippe Muyl's film is sticky through and through.

~ Angus Wolfe Murray -

With this cloying core, coupled with its phoned in central performances, Vacation can only rest on its vignette style stop-offs to save it, and they just aren’t strong enough.

~ Luke Shaw -

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

~ Scott Macdonald -

With so many loose ends, you could make a pretty rag rug.

~ Amber Wilkinson -

A solid and unpretentious piece of genre cinema.

~ Anton Bitel -

An early Eighties cult classic that stands the test of time.

~ Stephen Carty -

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 -