In the moments when Yeksan's film is good, it is truly stunning.

~ Amber Wilkinson -

In the moments when Yeksan's film is good, it is truly stunning.

~ Amber Wilkinson -

While content is important, it is context that is king in a documentary, and this film could do with a lot more of it to orient viewers, especially those who don't have a full working knowledge of the American South.

~ Amber Wilkinson -

While content is important, it is context that is king in a documentary, and this film could do with a lot more of it to orient viewers, especially those who don't have a full working knowledge of the American South.

~ Amber Wilkinson -

Even its vapidity fails to contribute anything new to the subject matter it's dealing with.

~ Jennie Kermode -

Even its vapidity fails to contribute anything new to the subject matter it's dealing with.

~ Jennie Kermode -

Where most films of this ilk are driven by aggression, Marx instead pushes hers forward with a mix of melancholy, quiet desperation and futility.

~ Amber Wilkinson -

Where most films of this ilk are driven by aggression, Marx instead pushes hers forward with a mix of melancholy, quiet desperation and futility.

~ Amber Wilkinson -

A stunning film, Malick's greatest work to date.

~ Jennie Kermode -

A stunning film, Malick's greatest work to date.

~ Jennie Kermode -

With gusto and humour John Carpenter delivers a steady stream of explosive gun fights and brutal action.

~ Daniel Hooper -

With gusto and humour John Carpenter delivers a steady stream of explosive gun fights and brutal action.

~ Daniel Hooper -

Zoabi uses farcical comedy as his warm-hearted messenger, presenting his argument with a disarming hug and a surprising dash of romance.

~ Amber Wilkinson -

Zoabi uses farcical comedy as his warm-hearted messenger, presenting his argument with a disarming hug and a surprising dash of romance.

~ Amber Wilkinson -

If we compared the original to a Mark Rothko canvas - a distillation of raw emotion - this version is more akin to a colossal, baffling kinetic sculpture, one that seems to exist in more dimensions than it ought to.

~ Max Crawford -

If we compared the original to a Mark Rothko canvas - a distillation of raw emotion - this version is more akin to a colossal, baffling kinetic sculpture, one that seems to exist in more dimensions than it ought to.

~ Max Crawford -

Sunset while resisting the digital, flings us into a dreamworld where nostalgia for the past is twin to premonition of our future.

~ Anne-Katrin Titze -

Sunset while resisting the digital, flings us into a dreamworld where nostalgia for the past is twin to premonition of our future.

~ Anne-Katrin Titze -

Hugely enjoyable, shamelessly melodramatic and technically swish.

~ Owen Van Spall -

Hugely enjoyable, shamelessly melodramatic and technically swish.

~ Owen Van Spall -

This is possibly the raciest picture ever to get a U-rating.

~ Scott Macdonald -

This is possibly the raciest picture ever to get a U-rating.

~ Scott Macdonald -

Phoenix gives his character more depth than such men are usually afforded but deliberately takes a back seat, allowing Reilly the dramatic lead role he has long deserved.

~ Jennie Kermode -

Phoenix gives his character more depth than such men are usually afforded but deliberately takes a back seat, allowing Reilly the dramatic lead role he has long deserved.

~ Jennie Kermode -

Going along with a bonkers plot and lashings of melodramatic confrontations between the characters is a hell of a lot easier to do when you have a well-done Wuxia spectacular to delight your eyes.

~ Owen Van Spall -

Going along with a bonkers plot and lashings of melodramatic confrontations between the characters is a hell of a lot easier to do when you have a well-done Wuxia spectacular to delight your eyes.

~ Owen Van Spall -

We are at a point where the wonders of earth and an awe in regards to nature cannot be shown often enough.

~ Anne-Katrin Titze -

We are at a point where the wonders of earth and an awe in regards to nature cannot be shown often enough.

~ Anne-Katrin Titze -

The sprawling house provides insight into Mia and Eugenia's personalities before we get to know them directly.

~ Jennie Kermode -

The sprawling house provides insight into Mia and Eugenia's personalities before we get to know them directly.

~ Jennie Kermode -

In his desire to inform our heads, Leigh often forgets that he needs to engage our hearts us as well.

~ Amber Wilkinson -

In his desire to inform our heads, Leigh often forgets that he needs to engage our hearts us as well.

~ Amber Wilkinson -

In Assayas's smashingly sad comedy of manners, shoes drop left and right.

~ Anne-Katrin Titze -

In Assayas's smashingly sad comedy of manners, shoes drop left and right.

~ Anne-Katrin Titze -

A film that looks back, that gazes also into you.

~ Jennie Kermode -

A film that looks back, that gazes also into you.

~ Jennie Kermode -

The blurring of fictionalisation is just one of the layers that encourages contemplation almost deep enough to justify the film's expansive canvas.

~ Andrew Robertson -

The blurring of fictionalisation is just one of the layers that encourages contemplation almost deep enough to justify the film's expansive canvas.

~ Andrew Robertson -

Kier, Goldblum, and Lavant are never less than fantastic in their portrayal of modes of crazed, unreliably self-assured masculinity.

~ Anne-Katrin Titze -

Kier, Goldblum, and Lavant are never less than fantastic in their portrayal of modes of crazed, unreliably self-assured masculinity.

~ Anne-Katrin Titze -

All the more powerful because of its deep roots in myth.

~ Jennie Kermode -

All the more powerful because of its deep roots in myth.

~ Jennie Kermode -

The film remains mysterious without being confusing - you don't need to grasp every detail to understand its metaphors and message and its enigmatic aura invites repeat viewings.

~ Amber Wilkinson -

The film remains mysterious without being confusing - you don't need to grasp every detail to understand its metaphors and message and its enigmatic aura invites repeat viewings.

~ Amber Wilkinson -

It's accessible for beginners yet provides a good deal for those with experience of such work to get their teeth into.

~ Jennie Kermode -

It's accessible for beginners yet provides a good deal for those with experience of such work to get their teeth into.

~ Jennie Kermode -

There are so many ‘solutions’ to the enigma of the plot that analysing it or watching it repeatedly is more fun than the first viewing.

~ Chris -

There are so many ‘solutions’ to the enigma of the plot that analysing it or watching it repeatedly is more fun than the first viewing.

~ Chris -

Although the story is slight, Cheng treats the subject matter with care, allowing a slow but certain heat to build between José and Luis.

~ Amber Wilkinson -

Although the story is slight, Cheng treats the subject matter with care, allowing a slow but certain heat to build between José and Luis.

~ Amber Wilkinson -

Introduzione all’Oscuro aims more for emotional beats and resonances than factual musings.

~ Amber Wilkinson -

Introduzione all’Oscuro aims more for emotional beats and resonances than factual musings.

~ Amber Wilkinson -

This is a story about grief and loneliness here masquerading as one about rockets.

~ Andrew Robertson -

This is a story about grief and loneliness here masquerading as one about rockets.

~ Andrew Robertson -

The dialogue is irreverent and sharp like a raven's claw.

~ Anne-Katrin Titze -

The dialogue is irreverent and sharp like a raven's claw.

~ Anne-Katrin Titze -

Long, slow and at times painful.

~ Andrew Robertson -

Long, slow and at times painful.

~ Andrew Robertson -

Szöcs has good ideas for the look and framing of the film but a feel for the characters is missing.

~ Amber Wilkinson -

Szöcs has good ideas for the look and framing of the film but a feel for the characters is missing.

~ Amber Wilkinson -

Innately melodramatic, unremittingly langurous, Death In Venice is as complete a film as can be, existing in its own space and on its own terms.

~ Jennie Kermode -

Innately melodramatic, unremittingly langurous, Death In Venice is as complete a film as can be, existing in its own space and on its own terms.

~ Jennie Kermode -

The finest film of the year so far.

~ Jennie Kermode -

The finest film of the year so far.

~ Jennie Kermode -

Becky Parsons and John M Tran's cinematography brings out every detail of the crowded rooms before us and puts us to close to the grain of the wood that we can almost smell it.

~ Jennie Kermode -

Becky Parsons and John M Tran's cinematography brings out every detail of the crowded rooms before us and puts us to close to the grain of the wood that we can almost smell it.

~ Jennie Kermode -

Not much explanation is needed to be immersed in the mournful and well-edited examination of a city in which the citizens become unwitting "foot soldiers" in a shapeless but enduring war.

~ Amber Wilkinson -

Not much explanation is needed to be immersed in the mournful and well-edited examination of a city in which the citizens become unwitting "foot soldiers" in a shapeless but enduring war.

~ Amber Wilkinson -

Scruggs still suffers from the problem that afflicts too many other anthologies - not all the tales come up to the same level in telling the essentially Coen-esque truth over and over.

~ Owen Van Spall -

Scruggs still suffers from the problem that afflicts too many other anthologies - not all the tales come up to the same level in telling the essentially Coen-esque truth over and over.

~ Owen Van Spall -

For those who know and love Van Gogh's work, the effect is hypnotic, a translation of his vision into a new medium.

~ Jennie Kermode -

For those who know and love Van Gogh's work, the effect is hypnotic, a translation of his vision into a new medium.

~ Jennie Kermode -

Recalling the bone-dry wit of the likes of Pablo Larrain mixed with a dash of the absurdity of Samuel Beckett, this is as much a waiting game as an action plan.

~ Amber Wilkinson -

Recalling the bone-dry wit of the likes of Pablo Larrain mixed with a dash of the absurdity of Samuel Beckett, this is as much a waiting game as an action plan.

~ Amber Wilkinson -

We cry with Amanda and David and when the sun comes through again, their smiles are like a gift.

~ Anne-Katrin Titze -

We cry with Amanda and David and when the sun comes through again, their smiles are like a gift.

~ Anne-Katrin Titze -

Writer/director/star Eva Victor has created a poem about the pain and absurdity of entering and continuing adulthood, even when things feel heavy and hopeless.

~ Jeremy Mathews -

The “star player” is the director of photography Rui Poças

~ Marko Stojiljkovic -

An impressive exercise in world creation.

~ Amber Wilkinson -

Strongly elemental.

~ Amber Wilkinson -

When things happen, the director pays close attention to Cyrus’ reaction, with Kerr nailing a range of mixed emotions his character experiences

~ Amber Wilkinson -

Krieps operates at her usual level of greatness, and Anna Cazenave Cambet does her a favour by putting her in the spotlight.

~ Marko Stojiljkovic -

Animator Momoko Seto primarily deserves praise for imbuing each seed with a distinctive personality so that although the film is without dialogue we always know which of our adventurers we’re observing.

~ Amber Wilkinson -

By any technical measure, G.B.H. is a terrible film. It’s also tremendous fun to watch.

~ Jennie Kermode -

Flitting from scene to scene with an increasing disregard for the constraints of logic, the film beguiles hesitant viewers with its gorgeous sets and costumes.

~ Jennie Kermode -

Shooting on film, using live footage of a bull jumping event, even the directors didn’t know how it would end.

~ Jennie Kermode -

It really looks impressive when you bear in mind that all the cast and crew had to eat during much of the shoot were the coconuts they managed to knock down from trees.

~ Jennie Kermode -

The anonymity of the landscape adds to the sense of alienation from normal landmarks, physical and metaphorical, that often accompanies war.

~ Jennie Kermode -

Successful films like this are few and far between, whilst the genre is littered with the bones of those that didn’t make it.

~ Jennie Kermode -

Incisive and thorough.

~ Jennie Kermode -

The film looks amazing, but it sounds even more incredible.

~ Richard Mowe -

There’s a fairy-tale element to this – and once the famous names start to be introduced, including Sarah Bernhardt, it becomes obvious it’s no history lesson – but that suits the crowdpleasing material well.

~ Amber Wilkinson -

It’s not a particularly sophisticated parable, but it doesn’t need to be. The central performances are strong and the bond between father and daughter feels real even when other elements do not.

~ Jennie Kermode -

Although writer/director Rohan Kanawade grew up in the city, there is a deep sense of authenticity about the village setting, and the whole film is handled with a rare degree of sensitivity.

~ Jennie Kermode -

It is precisely Diana’s lack of intellectual sophistication that makes her interesting.

~ Jennie Kermode -

On the technical level, Jacques Girault’s usually hand-held cinematography keeps the immediacy of associated with that choice, but never slips into “chaos cinema” shakiness.

~ Marko Stojiljkovic -

Successful films like this are few and far between, whilst the genre is littered with the bones of those that didn’t make it.

~ Jennie Kermode -

Incisive and thorough.

~ Jennie Kermode -

Why should a story about two angels who have been hanging around Wisconsin for aeons, bored rigid, and wanting to go home, be understandable?

~ Angus Wolfe Murray -

It is precisely Diana’s lack of intellectual sophistication that makes her interesting.

~ Jennie Kermode -

If it wasn’t for the excellent, immersive sound design from Chu-Li Shewring, you could easily believe you were watching a piece of silent movie found footage.

~ Amber Wilkinson -

I laughed, and was not alone in doing so, out loud, and repeatedly.

~ Andrew Robertson -