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 -

It isn’t just the quality of the animation that is stunning. It’s the creativity with which is is deployed to explore these myriad phenomena.

~ Jennie Kermode -

It isn’t just the quality of the animation that is stunning. It’s the creativity with which is is deployed to explore these myriad phenomena.

~ Jennie Kermode -

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

~ Jennie Kermode -

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

~ Jennie Kermode -

Directed with a light touch by Eivind Landsvik, it’s acutely aware of the fragility of its characters.

~ Jennie Kermode -

Directed with a light touch by Eivind Landsvik, it’s acutely aware of the fragility of its characters.

~ Jennie Kermode -

While the end result is important, Hùng’s film is all about savouring the moment, something that becomes more urgent as it progresses - although talk of speed has little place in a film that unfolds with the pace and beauty of a flower.

~ Amber Wilkinson -

While the end result is important, Hùng’s film is all about savouring the moment, something that becomes more urgent as it progresses - although talk of speed has little place in a film that unfolds with the pace and beauty of a flower.

~ Amber Wilkinson -

All in all Spellbound makes for a good watch but shouldn’t be too highly hyped.

~ Yusuf Javed -

All in all Spellbound makes for a good watch but shouldn’t be too highly hyped.

~ Yusuf Javed -

Told from a child’s point of view, immediate and haphazard, magical and unlikely.

~ Jennie Kermode -

Told from a child’s point of view, immediate and haphazard, magical and unlikely.

~ Jennie Kermode -

These are the nooks and crannies where the ghosts still hang out, whistling in the dark, eager to haunt anew a crowd.

~ Anne-Katrin Titze -

These are the nooks and crannies where the ghosts still hang out, whistling in the dark, eager to haunt anew a crowd.

~ Anne-Katrin Titze -

The 4:3 format, preferred by Yasujirō Ozu, is the perfect frame for paying attention to the small mysteries that are often overlooked.

~ Anne-Katrin Titze -

The 4:3 format, preferred by Yasujirō Ozu, is the perfect frame for paying attention to the small mysteries that are often overlooked.

~ Anne-Katrin Titze -

Will anyone see this who wouldn't anyway?

~ Andrew Robertson -

Will anyone see this who wouldn't anyway?

~ Andrew Robertson -

Handsomely mounted in terms of both the wide open landscapes and the confines of the church, Thornton allows the mystery surrounding the boy’s powers to remain that way, unknowable perhaps even to the youngster.

~ Amber Wilkinson -

Handsomely mounted in terms of both the wide open landscapes and the confines of the church, Thornton allows the mystery surrounding the boy’s powers to remain that way, unknowable perhaps even to the youngster.

~ Amber Wilkinson -

This film is one of the most rounded of any of Godard’s work and can easily be viewed as ‘mainstream’ – the more philosophical riddles being purely optional.

~ Chris -

This film is one of the most rounded of any of Godard’s work and can easily be viewed as ‘mainstream’ – the more philosophical riddles being purely optional.

~ Chris -

Everything about El Moudir’s film is unusual, from the structure to the mood.

~ Amber Wilkinson -

Everything about El Moudir’s film is unusual, from the structure to the mood.

~ Amber Wilkinson -

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 -

One of the most moving portraits of childhood seen recently on the screen.

~ Richard Mowe -

One of the most moving portraits of childhood seen recently on the screen.

~ Richard Mowe -

The balance held between creepiness and fascination, sheer fun and lingering disturbance is held throughout.

~ Anne-Katrin Titze -

The balance held between creepiness and fascination, sheer fun and lingering disturbance is held throughout.

~ Anne-Katrin Titze -

Something’s gotta give, so much is clear.

~ Anne-Katrin Titze -

Something’s gotta give, so much is clear.

~ Anne-Katrin Titze -

... houses almost feel like tombstones. Personal existential projects that demarcate that someone once cared for and poured their will and effort into them.

~ Nikola Jovic -

... houses almost feel like tombstones. Personal existential projects that demarcate that someone once cared for and poured their will and effort into them.

~ Nikola Jovic -

It is Scorsese at his, one hesitates to say peak, but absolute.

~ Andrew Robertson -

It is Scorsese at his, one hesitates to say peak, but absolute.

~ Andrew Robertson -

This cinematic exploration, a manifestation of Christian bigotry, speculates with cinematic icons and religious imagery, laying bare the power-hungry clergy.

~ Levan Tskhovrebadze -

This cinematic exploration, a manifestation of Christian bigotry, speculates with cinematic icons and religious imagery, laying bare the power-hungry clergy.

~ Levan Tskhovrebadze -

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 -

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 -

Beyond the stories that unfold within the vehicle, the tension of these journeys, often on dirt tracks in rural areas, is brought home.

~ Amber Wilkinson -

Beyond the stories that unfold within the vehicle, the tension of these journeys, often on dirt tracks in rural areas, is brought home.

~ Amber Wilkinson -

Writer/director Zarrar Khan uses techniques borrowed from the horror genre to address the experience of living in an environment where one is seen as less than fully human, or even as prey.

~ Jennie Kermode -

Writer/director Zarrar Khan uses techniques borrowed from the horror genre to address the experience of living in an environment where one is seen as less than fully human, or even as prey.

~ 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 -

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 sort of soft-faced tyrany abounds.

~ Amber Wilkinson -

A sort of soft-faced tyrany abounds.

~ Amber Wilkinson -

There's a difficult place between homage and pastiche, between nostalgia and the new.

~ Andrew Robertson -

There's a difficult place between homage and pastiche, between nostalgia and the new.

~ Andrew Robertson -

A fresh spin on territory that has been frequently explored.

~ Richard Mowe -

A fresh spin on territory that has been frequently explored.

~ Richard Mowe -

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 -

A documentary-drama of hypnotic power.

~ Richard Mowe -

A documentary-drama of hypnotic power.

~ Richard Mowe -

The exposure of the film’s underlying structures...invites audiences to think about the processes of storytelling and interpretation, which is important, because it’s a story which took the missing women away.

~ Jennie Kermode -

The exposure of the film’s underlying structures...invites audiences to think about the processes of storytelling and interpretation, which is important, because it’s a story which took the missing women away.

~ Jennie Kermode -

Handsomely mounted and costumed with enough sparks and pace to quicken the interest and heighten the senses.

~ Richard Mowe -

Handsomely mounted and costumed with enough sparks and pace to quicken the interest and heighten the senses.

~ Richard Mowe -

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 -

Instead of flooring the pedal and being a wild ride, the film stays within the speed limit.

~ Nikola Jovic -

Instead of flooring the pedal and being a wild ride, the film stays within the speed limit.

~ Nikola Jovic -

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 -

Ranging and enjoyably unpredictable.

~ Amber Wilkinson -

Ranging and enjoyably unpredictable.

~ Amber Wilkinson -

Trauma here isn’t a switch turned on by a force strong enough to propel it into being, but instead, it’s a slow-burning reflective state.

~ Nikola Jovic -

Trauma here isn’t a switch turned on by a force strong enough to propel it into being, but instead, it’s a slow-burning reflective state.

~ Nikola Jovic -

Its pastiches of mid-20th Century Korean cinema are beautifully observed and a lot of fun.

~ Jennie Kermode -

Its pastiches of mid-20th Century Korean cinema are beautifully observed and a lot of fun.

~ Jennie Kermode -

The narrative proceeds at a controlled pace set to a jangling score of percussion and chants, which is enough to set viewers on edge without the disturbing scenes of food being tentatively eaten and then disgorged.

~ Richard Mowe -

The narrative proceeds at a controlled pace set to a jangling score of percussion and chants, which is enough to set viewers on edge without the disturbing scenes of food being tentatively eaten and then disgorged.

~ Richard Mowe -

A meditation on both memory and movies as well as ageing and a hankering for the past that is informed by the melancholic knowledge that nostalgia is inevitably rose-tinted.

~ Amber Wilkinson -

A meditation on both memory and movies as well as ageing and a hankering for the past that is informed by the melancholic knowledge that nostalgia is inevitably rose-tinted.

~ Amber Wilkinson -

Rohrwacher’s visually eclectic style is well suited to exploring the contrasts between present and past, natural and artificial, poverty and wealth.

~ Jennie Kermode -

Rohrwacher’s visually eclectic style is well suited to exploring the contrasts between present and past, natural and artificial, poverty and wealth.

~ Jennie Kermode -

The vibrancy of childhood skips from the screen.

~ Amber Wilkinson -

The vibrancy of childhood skips from the screen.

~ Amber Wilkinson -

The pace is relentless and raucous - so much so that many viewers will feel alienated.

~ Richard Mowe -

The pace is relentless and raucous - so much so that many viewers will feel alienated.

~ 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 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 -

If you’re a Wes Anderson disciple then you won’t be disappointed by this latest offering.

~ Richard Mowe -

If you’re a Wes Anderson disciple then you won’t be disappointed by this latest offering.

~ Richard Mowe -

The aerial shots of the forest and the believable transformations with feathers, wings, beaks and claws as well as fish scales, make for riveting viewing.

~ Richard Mowe -

The aerial shots of the forest and the believable transformations with feathers, wings, beaks and claws as well as fish scales, make for riveting viewing.

~ Richard Mowe -

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 -

All To Play For questions much and wagers on love and sunshine.

~ Anne-Katrin Titze -

All To Play For questions much and wagers on love and sunshine.

~ Anne-Katrin Titze -

It’s the multiple layers of mystery – which have less to do with actual events than with what different characters are thinking – which make the film compelling.

~ Jennie Kermode -

It’s the multiple layers of mystery – which have less to do with actual events than with what different characters are thinking – which make the film compelling.

~ Jennie Kermode -

The filmmaker and her crew deserve a lot of credit for even managing to capture this lifestyle – not to mention following it for five years.

~ Amber Wilkinson -

Breslin, as so often, is the standout.

~ Jennie Kermode -

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 -

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 -