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 every 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 -

The spectacular visual effects are less a product of slick new technology than of pure imagination, and they really are unforgettable.

~ Jennie Kermode -

A very safe means whereby viewers might start exploring their own emotions around the subject.

~ Jennie Kermode -

While there’s no doubt the directors have a sympathetic slant towards the community, this is a film that is interested in exploring all the angles.

~ Amber Wilkinson -

A beautifully played, character-driven story, 1 Girl Infinite explores feelings that have grown up in the absence of analysis, without any social framework through which to make sense of them.

~ Jennie Kermode -

It’s not unusual to say that something cuts through the silence but in Dea Kulumbegashvili’s April it’s the silence that cuts through us.

~ Amber Wilkinson -

Pure joy from start to finish.

~ Anton Bitel -

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 every petty disagreement and sets them at odds with one another.

~ Jennie Kermode -

Revenge Of The Sith is a reminder of what made the original trilogy so good; character driven stories, along with a pot-boiling plot keeping things in check.

~ Scott Macdonald -

This is the first time in ages - perhaps ever - that the hot-blooded delights of a country house ball have been shown to be fun.

~ Angus Wolfe Murray -

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

~ Jennie Kermode -

The joke - there is only one - has a touch of the Eliza Doolittles about it.

~ Angus Wolfe Murray -

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 -

A very New York film.

~ Anne-Katrin Titze -

Even though we’re essentially talking about a basic shot-reverse shot exchange, framed in creeping wide angles, juxtaposed with close-ups, the feeling is comparable to watching a getaway heist.

~ Nikola Jovic -

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 -

It’s not unusual to say that something cuts through the silence but in Dea Kulumbegashvili’s April it’s the silence that cuts through us.

~ Amber Wilkinson -