The film mines a lot of clichés but manages to do something a little different with them, blending traditional elements of children’s fiction with a distinctly 21st Century sensibility.

~ Jennie Kermode -

The film mines a lot of clichés but manages to do something a little different with them, blending traditional elements of children’s fiction with a distinctly 21st Century sensibility.

~ Jennie Kermode -

Starting as a refined drama about a broken Tunisian family, the narrative becomes a complex meditation on attachment and motherhood, all encompassed by a remarkable female lead.

~ Sergiu Inizian -

Starting as a refined drama about a broken Tunisian family, the narrative becomes a complex meditation on attachment and motherhood, all encompassed by a remarkable female lead.

~ Sergiu Inizian -

Beyond the dark loneliness of grief, is the soft light of a shared mourning.

~ Amber Wilkinson -

Beyond the dark loneliness of grief, is the soft light of a shared mourning.

~ Amber Wilkinson -

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 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 perfect example of just how much the stars of a film can elevate mediocre material by the strength of their performances.

~ Amber Wilkinson -

A perfect example of just how much the stars of a film can elevate mediocre material by the strength of their performances.

~ 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 -

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 -

Huppert's lines feel stiff from the get-go, predicting a vague narrative limited by a purposefully strange dialogue.

~ Sergiu Inizian -

Huppert's lines feel stiff from the get-go, predicting a vague narrative limited by a purposefully strange dialogue.

~ Sergiu Inizian -

The heat is omnipresent, rippling through the air, distorting what we see, distorting time and identity.

~ Jennie Kermode -

The heat is omnipresent, rippling through the air, distorting what we see, distorting time and identity.

~ Jennie Kermode -

It's just not very captivating.

~ Andrew Robertson -

It's just not very captivating.

~ Andrew Robertson -

Reaches touching heights as it follows the marked son of a dead sicario from childhood to young adulthood.

~ Jeremy Mathews -

Reaches touching heights as it follows the marked son of a dead sicario from childhood to young adulthood.

~ Jeremy Mathews -

Every frame feels like the product of conscious decision-making, with nothing merely carrying us from one point to another.

~ Jennie Kermode -

Every frame feels like the product of conscious decision-making, with nothing merely carrying us from one point to another.

~ Jennie Kermode -

Grittily compelling

~ Amber Wilkinson -

Grittily compelling

~ Amber Wilkinson -

Having set up all the elements of a thriller, the film proceeds to untangle them in a refreshingly different and mature way.

~ Jennie Kermode -

Having set up all the elements of a thriller, the film proceeds to untangle them in a refreshingly different and mature way.

~ 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 -

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 -

The writing is sharp and succinct.

~ Richard Mowe -

The writing is sharp and succinct.

~ Richard Mowe -

Almodóvar goes all out with the delights fashion has to offer, bright colours, the joy of transformation - because it is never too late for sartorial metamorphosis.

~ Anne-Katrin Titze -

Almodóvar goes all out with the delights fashion has to offer, bright colours, the joy of transformation - because it is never too late for sartorial metamorphosis.

~ Anne-Katrin Titze -

Eisenberg takes us through the entire journey in a brisk 90 minutes, but the film never feels rushed.

~ Jeremy Mathews -

Eisenberg takes us through the entire journey in a brisk 90 minutes, but the film never feels rushed.

~ Jeremy Mathews -

There’s also an emperor’s new clothes feeling to the general style, look closely and there's very little there.

~ Amber Wilkinson -

There’s also an emperor’s new clothes feeling to the general style, look closely and there's very little there.

~ Amber Wilkinson -

Carreira shows how quiet desperation can be eroding

~ Amber Wilkinson -

Carreira shows how quiet desperation can be eroding

~ Amber Wilkinson -

Nyoni expertly controls her narrative so that it glides effortlessly between the reality of the funeral preparations to the more surreal psychological trauma Shula is working through.

~ Amber Wilkinson -

Nyoni expertly controls her narrative so that it glides effortlessly between the reality of the funeral preparations to the more surreal psychological trauma Shula is working through.

~ Amber Wilkinson -

A lot of the time, we talk about forgetting as a form of letting go, but in Inadelso Cossa’s sophomore docu-fiction feature, forgetting is a haunting, undead, presence.

~ Nikola Jovic -

A lot of the time, we talk about forgetting as a form of letting go, but in Inadelso Cossa’s sophomore docu-fiction feature, forgetting is a haunting, undead, presence.

~ Nikola Jovic -

Nightbitch is of an ilk that is off-kilter. It is unreliable and unstable. It is visceral and dark. It is taxidermy and what I think are freezer potato pancakes.

~ Andrew Robertson -

Nightbitch is of an ilk that is off-kilter. It is unreliable and unstable. It is visceral and dark. It is taxidermy and what I think are freezer potato pancakes.

~ Andrew Robertson -

Nickel Boys is a tremendously daring film.

~ Jennie Kermode -

Nickel Boys is a tremendously daring film.

~ Jennie Kermode -

Through a collage of footage shot by numerous brave protesters, she pieces together a statement about film as identity, in a country where the individual slowly fades away.

~ Sergiu Inizian -

Through a collage of footage shot by numerous brave protesters, she pieces together a statement about film as identity, in a country where the individual slowly fades away.

~ Sergiu Inizian -

The camera is close when it needs to be but often focused on a detail, such as hands on a rosary or capturing the detail of surroundings, including religious iconography or the texture of a horse’s coat that help us to feel Mother Vera’s place within these spaces.

~ Amber Wilkinson -

The camera is close when it needs to be but often focused on a detail, such as hands on a rosary or capturing the detail of surroundings, including religious iconography or the texture of a horse’s coat that help us to feel Mother Vera’s place within these spaces.

~ 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 -

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 -

Elliot time and again marries darkness and light, sweetness with sour to create a satisfying emotional umami.

~ Amber Wilkinson -

Elliot time and again marries darkness and light, sweetness with sour to create a satisfying emotional umami.

~ Amber Wilkinson -

It is gorgeous, both to look at and to listen to. It's perhaps Larrain's most accessible film, though that's as much to do with its star as its subject.

~ Andrew Robertson -

It is gorgeous, both to look at and to listen to. It's perhaps Larrain's most accessible film, though that's as much to do with its star as its subject.

~ Andrew Robertson -

Although this is set in the Nineties, the gritty feel makes it redolent of Seventies-set thrillers, a mood reinforced by the way that du Welz embeds us in Paul’s life from the start.

~ Amber Wilkinson -

Although this is set in the Nineties, the gritty feel makes it redolent of Seventies-set thrillers, a mood reinforced by the way that du Welz embeds us in Paul’s life from the start.

~ Amber Wilkinson -

There are several standout compositions among Figueroa's cinematography.

~ Rebecca Naughten -

There are several standout compositions among Figueroa's cinematography.

~ Rebecca Naughten -

As the modest camera follows Younes and his family, the directors dignify his struggle.

~ Sergiu Inizian -

As the modest camera follows Younes and his family, the directors dignify his struggle.

~ Sergiu Inizian -

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 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 -

With elements that are sadly all too recognisable, the familiar story is elevated by the strength of the performances and the decent pace and no-nonsense approach adopted by Bollaín.

~ Amber Wilkinson -

With elements that are sadly all too recognisable, the familiar story is elevated by the strength of the performances and the decent pace and no-nonsense approach adopted by Bollaín.

~ Amber Wilkinson -

Loznitsa’s approach is quietly observational, capturing the quotidian goings on as they continue beneath the shadow of war.

~ Amber Wilkinson -

Loznitsa’s approach is quietly observational, capturing the quotidian goings on as they continue beneath the shadow of war.

~ Amber Wilkinson -

From the start, there is something different about this film.

~ Jennie Kermode -

From the start, there is something different about this film.

~ Jennie Kermode -

This is a tactile retelling, inviting us to imagine the sticky feel of Coca-Cola on hot skin in the sun or the heat of a sheepskin coat and the love that goes with it being passed from mum to daughter ahead of a trip abroad.

~ Amber Wilkinson -

This is a tactile retelling, inviting us to imagine the sticky feel of Coca-Cola on hot skin in the sun or the heat of a sheepskin coat and the love that goes with it being passed from mum to daughter ahead of a trip abroad.

~ Amber Wilkinson -

It’s funny to begin with, watching Pansy rant with no filter, sharing her negative thoughts on everything from baby clothes with pockets to sofa salespeople, but gradually we realise just how close to the edge she is.

~ Amber Wilkinson -

It’s funny to begin with, watching Pansy rant with no filter, sharing her negative thoughts on everything from baby clothes with pockets to sofa salespeople, but gradually we realise just how close to the edge she is.

~ Amber Wilkinson -

The absurdity is one of its delights.

~ Andrew Robertson -

The absurdity is one of its delights.

~ Andrew Robertson -

Clarke’s utilisation of eerie Irish lore and the supernatural to explore very real horror, and the lifelong lingering aftermath of a single, damning moment, is a potent and unsettling brew.

~ James Gracey -

Clarke’s utilisation of eerie Irish lore and the supernatural to explore very real horror, and the lifelong lingering aftermath of a single, damning moment, is a potent and unsettling brew.

~ James Gracey -

A visually rich experience that boldly breaks down stylistic conventions, resulting in a dream-like atmosphere that vividly conjures the spectres of a troubled past.

~ Sergiu Inizian -

A visually rich experience that boldly breaks down stylistic conventions, resulting in a dream-like atmosphere that vividly conjures the spectres of a troubled past.

~ Sergiu Inizian -

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 -

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 -

There is a careful balance here between the big drama of the premise and the personal dramas experienced by the characters, most of whom pay no particular heed to the wider tragedy unfolding.

~ Jennie Kermode -

There is a careful balance here between the big drama of the premise and the personal dramas experienced by the characters, most of whom pay no particular heed to the wider tragedy unfolding.

~ Jennie Kermode -

The writer/director also zeroes in on the importance of physical contact for Ruth - something concrete in a world that is now full of things that she can’t always grasp.

~ Amber Wilkinson -

The writer/director also zeroes in on the importance of physical contact for Ruth - something concrete in a world that is now full of things that she can’t always grasp.

~ Amber Wilkinson -

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 -

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 -

Audiard has assembled a remarkable team of actors

~ Richard Mowe -

Audiard has assembled a remarkable team of actors

~ Richard Mowe -

Vigorously covering all bases, Diop cuts elegantly to give each position ample space.

~ Sunil Chauhan -

Vigorously covering all bases, Diop cuts elegantly to give each position ample space.

~ Sunil Chauhan -

Director Edward Berger and his director of photography Stephane Fontaine have made every frame art.

~ Andrew Robertson -

Director Edward Berger and his director of photography Stephane Fontaine have made every frame art.

~ Andrew Robertson -

As ever, Soda’s style is patient, unintrusive, and warmly curious.

~ Sunil Chauhan -

As ever, Soda’s style is patient, unintrusive, and warmly curious.

~ Sunil Chauhan -

Documentaries don’t get much more personal or intimate than this

~ Amber Wilkinson -

Documentaries don’t get much more personal or intimate than this

~ Amber Wilkinson -

Amid all the deprivation Arnold, as is her style, uncovers elements that lift the action out of the ordinary and into the realms of fantasy and magical realism.

~ Richard Mowe -

Amid all the deprivation Arnold, as is her style, uncovers elements that lift the action out of the ordinary and into the realms of fantasy and magical realism.

~ Richard Mowe -

As much as Architecton rues humanity’s depletion of our resources, it also marvels at our ability to harness materials for our own ends.

~ Sunil Chauhan -

As much as Architecton rues humanity’s depletion of our resources, it also marvels at our ability to harness materials for our own ends.

~ Sunil Chauhan -

It finds room for those who despise weakness, and are weaker for it, and is stronger because of it.

~ Andrew Robertson -

It finds room for those who despise weakness, and are weaker for it, and is stronger because of it.

~ Andrew Robertson -

What isn't untrue is that Anora is brilliant.

~ Andrew Robertson -

What isn't untrue is that Anora is brilliant.

~ Andrew Robertson -

It’s fitting for a film set in the “City of Dreams” and that is concerned with life’s illusions and how we navigate them as it is about the here and now.

~ Amber Wilkinson -

It’s fitting for a film set in the “City of Dreams” and that is concerned with life’s illusions and how we navigate them as it is about the here and now.

~ Amber Wilkinson -

His rigorous journey conveys a deep sense of beauty.

~ Sergiu Inizian -

His rigorous journey conveys a deep sense of beauty.

~ Sergiu Inizian -

As much as 2073 mentions things, it digs no further.

~ Andrew Robertson -

As much as 2073 mentions things, it digs no further.

~ Andrew Robertson -

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 screenplay written by the filmmaker and Andrea Piva is a proper masterwork, from the basic plotting to the intelligent, insightful dialogue.

~ Marko Stojiljkovic -

From the start, there is something different about this film.

~ Jennie Kermode -

Despite the anger at the unfairness of what has gone before, this is ultimately a warm-hearted, life-affirming film.

~ Jennie Kermode -

It is a ride, okay, and it is a bit nauseating and therefore not sterile.

~ Marko Stojiljkovic -

It’s also striking to think that when Leila is looking forward into the future, she is already, in some senses, looking at our recent past, which only reinforces the sense of the cyclical and ongoing nature of her themes.

~ Amber Wilkinson -

Thorne still comes across as being at the stage where many aspects of her work are experimental. She’s yet to settle into her style.

~ Jennie Kermode -

The characters work well...but there’s never quite enough energy to events.

~ Jennie Kermode -

Ahmed doesn’t need to include war footage for us to feel its weight and understand its shadow.

~ Amber Wilkinson -

The colour elements prove all the more striking when in contrast to black and white.

~ Amber Wilkinson -

The beautiful cinematography, the bluesy jazz score and the gentle pace of the film are beguiling, but Masciari makes sure that we don’t lose sight of the ridiculous.

~ Jennie Kermode -

Shot over 17 years, it mingles intimate personal moments with visceral concert footage, its musical sequences knitted together with some of the best editing you’re likely to see this year.

~ Jennie Kermode -

A very effective piece of low budget storytelling.

~ Jennie Kermode -

Having set up all the elements of a thriller, the film proceeds to untangle them in a refreshingly different and mature way.

~ Jennie Kermode -

[Hart] doesn’t turn up the volume, but uses tone and repetition so effectively that the film becomes a microcosm of the real experience.

~ Jennie Kermode -

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 -

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 -