Anna Smith

One of the definitive mystery chillers of all time. Poignant, beautiful and devastating.

There’s a lot going on here: you never quite know what Maggie Gyllenhaal is going to throw into the pot next, but it’s always visually exciting and often funny.

The vocal cast are great fun, and the animation is smooth and vibrant. Except for a few treacly songs, this is great entertainment for all.

All cast and crew do an impressive job in making this unlikely proposition such an engaging, thought-provoking and darkly funny watch.

A slick, stylish melodrama with an involving story and a cracking cast. Star Adriana Ugarte is a real find.

It’s quietly absorbing and fitfully shocking as we experience the sights, sounds and smells of the streets where a one-year-old child can wander around alone without anyone stopping to wonder why.

A startling movie, I Am Not a Witch is many things. It’s a magic realist fable set in present-day Zambia that has plenty to say about gender and superstition. It’s also a satire, a tragedy and a comedy. And, impressively, debut writer-director Rungano Nyoni makes this heady mix work.

At 134 minutes, the film may seem challengingly long, but the strength of its ensemble cast and unusually evolving narrative results in a satisfying watch that’s reminiscent of tucking in with an engrossing book.

Diop tackles serious issues in the framework of a touching and romantic drama with intriguing sways into genre territory, leaving the viewer much like Ada: a little confused, but oddly bewitched.

It would have been great to have seen even more myth-busting around weight and health in this doc (presumably that’s covered in her book ‘What We Don’t Talk About When We Talk About Fat’), but Gordon is a funny and frank subject: a tour of her vintage diet book collection is a treat.

It’s a fun setup with a rousing finale that broadly compensates for a baggy middle section (at two hours, the film seems a little too long).

Kreutzer has her own style of revisionist feminist history, and aided by Krieps’s bold and brilliant turn, it’s riveting stuff.

It's overlong, but with its gorgeous cast, irreverent humour and beautifully drawn characters, this smart comedy-drama is the kind of movie Couples Retreat and Grown Ups should have been. Please, nobody let Adam Sandler anywhere near a remake.

Well-crafted and compelling, if a little inaccessible to western audiences...

The tension dips occasionally but stick with it and you'l be richly rewarded.

Late director Albert Maysles (Gimme Shelter) beautifully captures her personality and her passion for creativity.

Cute, comical kids help make this ballroom dancing comp-romp a feelgood winner despite inexpert editing.

A witty, warm exploration of family life that's conventional and unconventional in equal measure.

Alice Guy-Blaché was the first female filmmaker yet criminally overlooked by history – something Pamela B. Green sets out to correct in this educational and entertaining film.

This is a film equally grounded in realism and empathy, and a reminder that no two people have the same story.

By leaning into those relatable complexities, Causeway will offer plenty for fans of thoughtful, quality dramas that touch on humanity, trauma, connection and the kindness of strangers.

Moving, bold, unconventional and impeccably staged, The Arbor is a worthy tribute to a powerfully artistic voice.

If the storytelling sometimes feels straightforward, it’s more than merited by its captivating story and powerful message.

Director Jung Byung-gil (‘Confessions of Murder’) combines a familiar but fun story with slick combat action, whether it’s in dark streets, seedy clubs or underwater.

A tough but very rewarding watch.

Though infuriatingly difficult to categorise, the film is bold, inventive, stimulating and extremely entertaining.

The young Aprile is a standout in a moving, hard-hitting and surprising adaptation of the Henry James novel.

An insight-filled take on prejudice in post-11/7 London that packs a hefty punch.

Even with a starry cast, the stirring true story is this drama’s standout feature.

Music fans will love this indie documentary. Try to avoid Googling him before you watch, though.

Diwan was BAFTA nominated for the film, and it was richly deserved, while Vartolomei makes a luminous heroine full of gritty determination. Their collaboration makes for an atmospheric, gripping drama with a poignant contemporary relevance.

While Meg Wolitzer’s source novel is written in Joan’s voice, The Wife resists narration and allows Joan to internalize her feelings, ranging from affection, concern and duty to bitterness and rage. It’s a smart move.

This also marks what may be Allison Janney’s funniest performance to date: her cheerful, outspoken drunk next door is an absolute hoot.

There are undeniable flaws, from cheesy dialogue to neglected subplots. But there’s something so lovable about The Sapphires’ enthusiasm, and powerful about its moments of tenderness.

Despite a few missteps this is a spirited, touching romance and Shailene Woodley’s best performance yet. Divergent fans after a weepie need look no further.

With enjoyable characters and smart dialogue, French-Canadian director Monia Chokri makes her dilemma a very entertaining ride.

Mothering Sunday isn’t exactly a cheery watch, but it’s an intelligent, affecting British drama with a splash of French sensuality.

Part drama-thriller, part OTT slasher, Pearl doesn’t particularly resolve its internal conflicts, but it does hold the attention.

Eerie yet entertaining, it’s Jenkin’s most accessible film so far, while remaining anchored to his core Cornish principles.

The tone balances realism and optimism with the accent on the latter; ultimately Patti Cake$ has the kind of uplifting, defiant-misfit mood that’s easy to compare with fellow Sundance hit "Little Miss Sunshine."

The Woman King is a story of sisterhood and racial identity that deserves to pack in the crowds. About time, indeed.

As ever with this filmmaker, symmetry is a hallmark, though both visually and narratively, this busy film lacks the serenity and jaw-dropping beauty of The Grand Budapest Hotel. Nor is Isle of Dogs as well-rounded and satisfying as Fantastic Mr. Fox. But as its curious canine cousin, it’s a movie that Anderson fans won't want to miss—as if they could anyway.

Austrian filmmaker Sebastian Meise manages to find romance amidst the dirty needles and dirty toilets, delivering as many memorable tender images as he does unpleasant ones.

This will divide audiences as much as "The Tree Of Life," but it's a brave and beautiful calling card for both filmmaker and star. Drink it up, sit back and think of a very different Australia.

A voluptuous slice of historical drama that will satisfy period fans and Mikkelsen admirers equally.

Charming, delightful and amusing - just what you'd expect from the star-studded cast of veterans.

Bell goes easy on the preaching and heavy on the laughs without losing her feminist message.

In its own restrained way, this drama packs an emotional punch.

Director Stacie Passion doesn't try to ape Buñuel’s surrealist twist on ennui in Belle Du Jour, instead crafting an enthralling, modern tale in which intimacy is a goal rarely achieved.

Finally, a female ensemble comedy that balances realistic characters with smart laughs and side-splitting farce. Not everything works, but there's more than enough here to keep you chuckling - not to mention baying for a sequel.

Light and entertaining, if a little clunky at times.

With good performances and characters, Beginners is an enjoyable, amusing and occasionally poignant watch. Indie film fans will want to catch it, but it falls short of being a must-see.

A flowerier adaptation of the Scott Spencer romance than Zeffirelli's '80s version, it's tailor-made for the Nicholas Sparks crowd.

The Kids Are All Right writer Stuart Blumberg's first directorial effort is a frothy affair with typically strong turns from Ruffalo and Paltrow.

The joke wears a bit thin and performances vary: this isn’t as slick as the teen movies it draws from, such as ‘Clueless’ and ‘Mean Girls’. But an original premise and earnest tone go a long way.

Tonally, it might feel a bit like a ’70s Disney movie, but visually, it’s absolutely up to the minute.

Overlong but slick, this still gets away with simplistic dialogue and characters, perhaps because it doesn’t take itself too seriously.

Don’t expect Austen-style humour, though: ultimately, you may be frustrated by a narrative that punishes its pleasant protagonist so thoroughly. But credit to Brizé and crew for an impressive piece of filmmaking with a refreshingly contemporary approach.

The characters could use more depth – Vincent’s backstory is told too swiftly, and his bonding with Ava is brief. But it’s still a smart, thought-provoking little thriller with strong central performances.

The by-the-numbers plotting is a little clunky but there's fun to be had in the cast's easy chemistry.

It may not be as daring as Young Adam, but this is a well-performed adaptation of an absorbing melodrama.

Giant expectations may lead to tiny disappointments in this two-hander that’s slow in parts. But it still offers magic and visual delights, and the final act is a treat.

A tender, sensitive French drama rich in hazy atmosphere.

Paltrow does an excellent job as the shy loner, affecting youthful, sulky mannerisms without resorting to stereotype. Anthony Hopkins, meanwhile, brings both gravitas and dark humour as Catherine's mentally ill father, while Jake Gyllenhaal makes for an effective, if buff, maths geek.

The Stolen doesn’t dig too deep into its characters, so it’s not the emotionally devastating watch it could have been. But it has something to say about a penniless woman’s plight in the era, and it’s engaging and refreshing on several counts.

The gags swing between mildly inventive and screamingly obvious, but even the latter are performed and timed well enough to draw a laugh.

While this has its pleasures, it feels more like a doc you’d watch on terrestrial TV rather than seek out in the cinema.

Instead of updating the genre, The Other Woman rehashes it, bringing little more than a few giggles and a dash of glamour to the table.

That innocuous title disguises a Mexican thriller with genuine bite, though the hokey ending doesn't quite live up to the edgy plotting and Sigman's classy turn as a tough heroine in an impossible situation.

Some developments seriously stretch credulity and the dialogue doesn’t always ring true. But the performances — including a sinister, matronly Kerry Fox — are as enjoyable as the tawdry film noir vibe.

A simplistic portrayal of historic race relations boosted by terrific performances from some of the best actresses working in Hollywood today. Sure, it's corny, but it mostly works.

More time could have been spent developing the bond between the men, but ultimately this is quite gripping: a weepie bromance. You don’t see one of those every day.

There’s little interest in probing characterisation, but the plot progress is steady and the performances likeable.

If this energetic, fitfully funny version introduces the story to a new generation, heck, bring on a new ‘Sense and Sensibility’ too.

A very superficial look at what it may be like trying to romance someone on the autistic scale.

Hard to root for but mesmerising to watch, Sloane is expertly portrayed by Chastain in this dialogue-heavy lobbyist thriller that should please fans of both actor and genre.

A fizzy, funny, period dramedy with top-notch performances, Florence Foster Jenkins doesn't take many risks but it's a very entertaining experience. And yes, she was that bad.

The song and dance scenes are hard to beat in terms of sheer energy and atmosphere, but the dramatic storylines leave several loose ends.

Vikander and Fassbender are riveting in a handsome period drama that begins beautifully, but becomes increasingly contrived as it tries to wring as much drama as possible from its set-up.

The Hitman’s Bodyguard is not exactly killing it, but coasts on the charisma of its central stars.

Illuminating as to the reality of being a victim of crime in a dangerous society but not exactly absorbing entertainment.

Greg avoids the curse of the three in the third outing for the Wimpy Kid. Hardly groundbreaking but plenty of fun for its target audience.

A sad story, but well told, with respect for its subject and an eye for the Shakespearian tragedy in the tale.

Sterling performances lift the occasionally soapy storyline in this semi-successful adaptation.

This fantasy comedy should entertain its pre-teen female market – and repel those silly superficial boys (swoon).

While it’s not a crossover classic, this has enough wit and charm to entertain both big and little people.

Nail-biting and genuinely heartbreaking moments mean it's emotionally involving, even if it isn't the cheeriest drug dealer saga in town.

It’s well performed and a periodically fascinating study of Bradford’s seedy underbelly that’s rarely seen on film

A fascinating portrait of a broken rock star picking up the pieces, this misses a few tricks but still entertains.

This coasts along just fine thanks to charm and comical interludes, but it fails to deliver the sassy story it promises. Fine for a romantic comedy, but an inferior follow up to director Gluck's edgier "Easy A."

Charming slice of small-town France.

Strong turns from its female leads and Amanda Seyfried elicits more sexual tension from proceedings than "Jennifer's Body" ever managed.

The film’s bouts of slapstick and sentiment sit slightly oddly with its downbeat tone, but if Wilson isn’t entirely consistent as a character, Harrelson is consistently funny – and if anyone can make a sociable misanthrope believable, he can.

An impassioned, fly-on-the-wall look at a serious social issue.

Though occasional acerbic touches remain, the sections that are drawn directly from the original remain hampered by the loss of Coward's dialogue. But the first half of the film, an addition detailing events only described in the play, is pure Hitchcock, its combination of conciseness and idiosyncrasy demonstrating his mastery of silent narration.

The Score doesn’t always strike the right notes, but it has its high points thanks to a simple, rewarding romantic arc.

A moving drama set against beautiful Latin American backdrops - just don't expect fireworks.

It’s a believable portrayal of the impact of gaslighting and brainwashing: Alice’s conviction that she’s at fault will resonate with many audiences.