Amber Wilkinson

Emma Thompson again proves what a versatile star she is in The Dead Of Winter, not only convincing as a have-a-go heroine unexpectedly trying to save a damsel in distress, but also single-handedly rescuing this film from the worst of its formulaic elements. Indeed, lying beneath the icy surface of director Brian Kirk’s thriller is a lake of gooey warm sentiment that’s deep enough to drown in.

While director Justin Lin’s thriller-inflected approach is periodically absorbing, the scattered structure and episodic nature of the plot works against him as it slides towards an overly sentimental conclusion.

Tears may well be shed but it is the actors who are delivering the goods rather than the script.

The subject is an important one but would benefit from a shorter running time.

Although the access is intimate, what emerges is not particularly surprising.

It feels as though it would have been better served as a six-part sitcom, where its sentimentality, broad comedy and fantasy elements wouldn't rub up against each other so badly.

Their improvisation has been honed to the point where the jokes land solidly without losing naturalism.

The film hinges on the bond between dad and daughter and on the expressive face of Fanning, as we see her shift from a sort of nervous adoration of the unpredictable, if loving, Joe, to something more steely and independent.

The plot strong-arms the characters into increasingly contrived and overly familiar positions that leave you longing for the more relaxed vibe of Shelton's earlier films.