You don't have to look far for allegory in Panek's film.

~ Amber Wilkinson -

You don't have to look far for allegory in Panek's film.

~ Amber Wilkinson -

Heavily invested in style, not always so strong on substance.

~ Jennie Kermode -

Heavily invested in style, not always so strong on substance.

~ Jennie Kermode -

This is an extraordinary film, not least because it is Japanese and yet feels universal.

~ Angus Wolfe Murray -

This is an extraordinary film, not least because it is Japanese and yet feels universal.

~ Angus Wolfe Murray -

You can turn it upside down, inside out and back-to-front and you might be able to work most of it out, but there will always be one thing that doesn't fit.

~ Gator MacReady -

You can turn it upside down, inside out and back-to-front and you might be able to work most of it out, but there will always be one thing that doesn't fit.

~ Gator MacReady -

The more science fiction you have watched (or read), the more chills you will feel running down your spine as the carefully structured story plays out.

~ Jennie Kermode -

The more science fiction you have watched (or read), the more chills you will feel running down your spine as the carefully structured story plays out.

~ Jennie Kermode -

This isn't the kind of film that's destined to win mainstream awards but Paradis' performance deserves to be remembered.

~ Jennie Kermode -

This isn't the kind of film that's destined to win mainstream awards but Paradis' performance deserves to be remembered.

~ Jennie Kermode -

The production design here is exquisitely detailed and complemented by careful lighting choice that generally keep things realistic but sometimes throw in a hint of giallo.

~ Jennie Kermode -

The production design here is exquisitely detailed and complemented by careful lighting choice that generally keep things realistic but sometimes throw in a hint of giallo.

~ Jennie Kermode -

By avoiding serial cliches, director Joe Berlinger touches on a different level of revelation.

~ Angus Wolfe Murray -

By avoiding serial cliches, director Joe Berlinger touches on a different level of revelation.

~ Angus Wolfe Murray -

Cronenberg has created a dazzling star in the futuristic psycho-thriller firmament.

~ Angus Wolfe Murray -

Cronenberg has created a dazzling star in the futuristic psycho-thriller firmament.

~ Angus Wolfe Murray -

Whilst this may superficially seem like just another horror film about possession or a zombie, it has a lot more going on both narratively and thematically.

~ Jennie Kermode -

Whilst this may superficially seem like just another horror film about possession or a zombie, it has a lot more going on both narratively and thematically.

~ Jennie Kermode -

Kubrick's canvas is best enjoyed large, right at the front.

~ Andrew Robertson -

Kubrick's canvas is best enjoyed large, right at the front.

~ Andrew Robertson -

Although the film is nowhere near as terrifying as it's made out to be, its shunning of shock tactics in favour of distant sound effects and creepy environments creates a psychological terror which is far more disturbing.

~ Trinity -

Although the film is nowhere near as terrifying as it's made out to be, its shunning of shock tactics in favour of distant sound effects and creepy environments creates a psychological terror which is far more disturbing.

~ Trinity -

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 -