There are no shortcuts in this film, no conventions and nothing careless.

~ Anne-Katrin Titze -

There are no shortcuts in this film, no conventions and nothing careless.

~ Anne-Katrin Titze -

The idea of different things being in and out of focus for the various generations runs through a film that has sweetly comic moments and poignancy in equal measure.

~ Amber Wilkinson -

The idea of different things being in and out of focus for the various generations runs through a film that has sweetly comic moments and poignancy in equal measure.

~ Amber Wilkinson -

Lanthimos skillfully transforms this lustful carnival into a coming-of-age drama, emphasising the protagonist's mastery of sexuality as a connotation of her mental evolution.

~ Levan Tskhovrebadze -

Lanthimos skillfully transforms this lustful carnival into a coming-of-age drama, emphasising the protagonist's mastery of sexuality as a connotation of her mental evolution.

~ Levan Tskhovrebadze -

A beautifully constructed piece of work in which every detail serves the whole, putting the tools of the epic at the disposal of a story which is intimate and delicately realised.

~ Jennie Kermode -

A beautifully constructed piece of work in which every detail serves the whole, putting the tools of the epic at the disposal of a story which is intimate and delicately realised.

~ Jennie Kermode -

This 1933 classic is still the big daddy of all monster movies.

~ Gary Duncan -

This 1933 classic is still the big daddy of all monster movies.

~ Gary Duncan -

By the end you might not only ask yourself if someone is losing their marbles but whose marbles, in fact, are the ones that are being lost.

~ Amber Wilkinson -

By the end you might not only ask yourself if someone is losing their marbles but whose marbles, in fact, are the ones that are being lost.

~ Amber Wilkinson -

There’s a freshness to this world, as if one had just stepped out of one’s own door and arrived in an unexpected place.

~ Jennie Kermode -

There’s a freshness to this world, as if one had just stepped out of one’s own door and arrived in an unexpected place.

~ Jennie Kermode -

A fresh spin on territory that has been frequently explored.

~ Richard Mowe -

A fresh spin on territory that has been frequently explored.

~ Richard Mowe -

It’s cobbled together so haphazardly that one finds oneself wanting to hand out a badge for effort, because it’s not easy to make a feature film from nothing, yet whilst the team behind it ought to feel proud of themselves, it’s not very watchable.

~ Jennie Kermode -

It’s cobbled together so haphazardly that one finds oneself wanting to hand out a badge for effort, because it’s not easy to make a feature film from nothing, yet whilst the team behind it ought to feel proud of themselves, it’s not very watchable.

~ Jennie Kermode -

Kordofani uses the greater intimacy offered by the camera to bring us close to the characters and reveal the complex layers of relationship developing between them.

~ Jennie Kermode -

Kordofani uses the greater intimacy offered by the camera to bring us close to the characters and reveal the complex layers of relationship developing between them.

~ Jennie Kermode -

There’s something inherently endearing about the way that Nikou always managed to conjure timelessness in his worlds. They’re more analogue than futuristic but ultimately hang in a sort of limbo of ‘here but not quite now’.

~ Amber Wilkinson -

There’s something inherently endearing about the way that Nikou always managed to conjure timelessness in his worlds. They’re more analogue than futuristic but ultimately hang in a sort of limbo of ‘here but not quite now’.

~ Amber Wilkinson -

An amuse-bouche of a film, Aki Kaurismäki’s latest comedy romance may leave you wanting more but it’s also a fully rounded, good looking experience packed with all the flavours we’ve come to expect from the master of deadpan down the years.

~ Amber Wilkinson -

An amuse-bouche of a film, Aki Kaurismäki’s latest comedy romance may leave you wanting more but it’s also a fully rounded, good looking experience packed with all the flavours we’ve come to expect from the master of deadpan down the years.

~ Amber Wilkinson -

There are so many shots through things, boundaries, borders, thresholds, that we are primed for other barriers crossed. Those transgressions are not light ones, but in them is an abject honesty.

~ Andrew Robertson -

There are so many shots through things, boundaries, borders, thresholds, that we are primed for other barriers crossed. Those transgressions are not light ones, but in them is an abject honesty.

~ Andrew Robertson -

Jude masterfully keeps the audience attached to the screen for almost three hours without relying on heightened tensions or conventional plot twists.

~ Liza Alpaidze -

Jude masterfully keeps the audience attached to the screen for almost three hours without relying on heightened tensions or conventional plot twists.

~ Liza Alpaidze -

An effective little thriller.

~ Jennie Kermode -

An effective little thriller.

~ Jennie Kermode -

Moreno isn’t shy about his use of symbolism...What this effects to disguise, however, is the degree to which [the men's] own thinking has been shaped by symbols and by the belief system which surrounds them.

~ Jennie Kermode -

Moreno isn’t shy about his use of symbolism...What this effects to disguise, however, is the degree to which [the men's] own thinking has been shaped by symbols and by the belief system which surrounds them.

~ Jennie Kermode -

Purev-Ochir gives a sense of the pressures the younger generation are under through their experience in the classroom, with a tacit implication that Ze’s struggles are reflecting a spirit of a nation.

~ Amber Wilkinson -

Purev-Ochir gives a sense of the pressures the younger generation are under through their experience in the classroom, with a tacit implication that Ze’s struggles are reflecting a spirit of a nation.

~ Amber Wilkinson -

The unadorned observation of the physical aspects of the relationship in which middle-aged bodies are shown without artifice is one of the most hypnotic aspect of Naveriani’s vision.

~ Richard Mowe -

The unadorned observation of the physical aspects of the relationship in which middle-aged bodies are shown without artifice is one of the most hypnotic aspect of Naveriani’s vision.

~ Richard Mowe -

The film has the maverick nature of originality, constantly surprising, never explaining.

~ Angus Wolfe Murray -

The film has the maverick nature of originality, constantly surprising, never explaining.

~ Angus Wolfe Murray -

Hüller has always been an unfussy actress, who allows a character's flaws to shine out in interesting ways.

~ Amber Wilkinson -

Hüller has always been an unfussy actress, who allows a character's flaws to shine out in interesting ways.

~ Amber Wilkinson -

Protagonist Adam (Andrew Scott) lives in a neatly furnished home, no longer feels the need to hide his sexuality, and tells himself he’s fine, but the music says otherwise.

~ Jennie Kermode -

Protagonist Adam (Andrew Scott) lives in a neatly furnished home, no longer feels the need to hide his sexuality, and tells himself he’s fine, but the music says otherwise.

~ Jennie Kermode -

A film of true originality...triumph of courage over conformity

~ Angus Wolfe Murray -

A film of true originality...triumph of courage over conformity

~ Angus Wolfe Murray -

The observational approach works against the director, slowing down proceedings and making it hard to see the wood for the trees

~ Amber Wilkinson -

Lotus may love pretty things, but he doesn’t hold back on the gore.

~ Jennie Kermode -

With so much going on the only shame is that at this length the pirouettes in various directions are so brief, giving us a taste for ideas that are begging to be dug into further.

~ Amber Wilkinson -

While the film is generally a delight, the increasingly surreal third act can be hard to track.

~ Antoni Konieczny -

A patient, affecting study of human connection in unusual circumstances

~ Antoni Konieczny -

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

~ Antoni Konieczny -

Like its subject, the film is a fusion of styles.

~ Jennie Kermode -

Fiennes is lean in look and in performance, bringing an intensity that proves compelling.

~ Amber Wilkinson -

An overflowing life is presented to us through archival interviews and film clips, and most revealingly through on-camera insights from O’Brien herself.

~ Anne-Katrin Titze -

The anxious impact of the airport is also brought home to us by the crowded nature of the animation, its expressionist rendering emphasising the strangeness of this environment.

~ Amber Wilkinson -

For better or worse, Antonioni’s got his master stylist hat on here, even if it sometimes obscures his vision.

~ Antoni Konieczny -

Feels like a bite-sized companion piece to The Invasion

~ Amber Wilkinson -

There’s a good deal of depth and nuance to these relationships as Blichfeldt uses them to illustrate how a society which makes women dependent on men magnifies ever petty disagreement and sets them at odds with one another.

~ Jennie Kermode -

The cinematography is deliberately downbeat. The narrative meanders as its hero does.

~ Jennie Kermode -

Anno, while acknowledging the history through the use of archive and via her interviewees, firmly accentuates the positives and the strides that have been made.

~ Amber Wilkinson -

There’s no room here for the simple morality of the average horror film.

~ Jennie Kermode -

Though parts of the film are repetitive and others don’t quite knit together, there are some real gems hidden in there.

~ Jennie Kermode -

The plot is not the film’s strongest point, but it functions well enough as a device through which to explore a troubled relationship.

~ Jennie Kermode -

This is probably [Tsutsumi's] strangest film to date, its full-on, rapid fire style combining with a wild and not always coherent plot to exhaust most viewers in the first 15 minutes.

~ Jennie Kermode -

Ultimately. McClarnon’s biggest advantage lies in his cast.

~ Jennie Kermode -

Pure joy from start to finish.

~ Anton Bitel -

Fiennes is lean in look and in performance, bringing an intensity that proves compelling.

~ Amber Wilkinson -

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

~ Jennie Kermode -

I Am Love is social melodrama in the best traditions of Italian cinema.

~ Chris -

Anime at its very finest - lightning paced, visually stunning, feverishly creative and overrun by a logic all its own.

~ Anton Bitel -

The action is pacy but that doesn’t mean Courvoisier skims the surface.

~ Amber Wilkinson -

An overflowing life is presented to us through archival interviews and film clips, and most revealingly through on-camera insights from O’Brien herself.

~ Anne-Katrin Titze -