Anna Smith

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.

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

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

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

From Certain Women to First Cow, Reichardt has delivered some deep and powerful storytelling, and seeing her commit more fully to her lighter side is both refreshing and slightly frustrating by comparison. Still, Showing Up is an amiable watch that has something to say about power dynamics, the art world and our relationship with animals – who are used for all their symbolic worth.

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.

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.

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

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.

There's little tension or opportunity for emotional involvement in the brief story, and despite competent animation the cats are rarely anthropomorphised to good comic effect. One for anime - and animal - lovers only.

Undemanding, observant and beautifully performed, this is Richard Curtis-lite with added reassurance: no challenging questions here.

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

This Indian immigrant family saga is a pleasant watch, but given the emotive source novel, it’s surprisingly superficial.

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.

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.

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

Slow, ponderous, meticulously rendered realism that will appeal to specific audiences of slow, ponderous, meticulously rendered realism, with a heart.

Superficially interesting in many ways but this doesn't really engage on a deeper level.

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

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

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.

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

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.

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

Kid-friendly with some neat visuals. Adults will appreciate the dulcet tones of Frasier as the Tin Man.

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

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.

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

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.

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.

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.

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

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

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

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.

It's hard not to be seduced by this folky yarn.

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.

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.

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

A tender, sensitive French drama rich in hazy atmosphere.

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.

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

Not all of it works but it does breeze along, thanks to its likable characters and dry wit.

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

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).

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

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

There's charm in this simple underdog tale, but clunky plotting and characterisation mean it has 'telemovie' written all over it.

Geostorm is a watery blend of Armageddon and 24, with enough action to entertain on a basic level. It’ll probably be most appealing to scientists looking for a good laugh.

A charming animation with funny — if samey — moments and a quality voice cast.

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

Likeable stuff despite being slow paced and rather sentimental.

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

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

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.

It's poetic, hypnotic and well-performed, but fails to either draw out its characters with conviction or fully draw its audience in.

It is an unusual mix of intense, angsty character-driven drama and laugh-out-loud jokes about the film industry. It’ll be best enjoyed by those who live in the milieu it depicts, along with fans of Amstell’s bittersweet wit – and there’s probably overlap between the two.

Touches on some interesting philosophical ideas, but it's poorly-produced and unclear in tone.

While the tone may shift from satire to farce at times, this is a highly assured debut by Rizvi.

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

Despite some strong moments, Ginger and Rosa fails to really convince.

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.

Like a Gallic "Nine To Five," Ozon's comedy is a uniquely French skew on the gender politics of the home and the workplace. It's mostly funny, fast and fondly made although it drags a little towards the end.

A solid watch for gore fans.

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

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

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.

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."

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

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.

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.

If you're looking for a film to put you off marriage, children, affairs, and indeed life itself, look no further than this melancholic ensemble piece about listless adulterous couples in small-town New England.

A far-from-rosy life story makes this lengthy biopic entertaining, but despite a strong lead performance it fails to get under Piaf’s skin.

Light and entertaining, if a little clunky at times.

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

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

Surprisingly watchable despite the formulaic teen format.

Fans of the Ramona Quimby books will be disappointed, but tween girls will love it.

A tough but very rewarding watch.

Liman mines the story for familiar but fun comedy...though it never reaches the comedic heights of rise-and-fall classics such as Goodfellas or The Wolf of Wall Street.

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.

This has charm and glamour but little profundity.

While billed as a psychological horror, it may be best approached as a dark drama or thriller, rather than a fully terrifying experience. But if you invest in its characters, it offers a thought-provoking insight into the depths of the human mind when faced with the laws of survival. It’s grim, but good.

As each character veers between confidence and awkwardness, it feels credible but doesn’t dig terribly deep.

A frothy and often charming directorial effort from Hoffman, his first in a Hollywood career that's spanned five decades, that will keep Downton fans happy.

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.

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.

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.

This glimpse into a decadent era has its charms, but they’re mostly visual. While Pfeiffer and Friend perform well, the script is tonally confused and lacks edge.

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."

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

LaBoeuf is good, but his performance is – ironically – desperately serious, as is the tone of this film.

While the quirky structure could be taken as a bold move, the story still feels frustratingly incomplete, rendering the preceding hour or so a tantalising glimpse at what could have been.

Witty and articulate but the continual editing devices can distract from the momentum.

This freshly 4K-ed masterpiece of German Expressionism deserves to be seen on the big screen. Track it down and be rewarded with possibly cinema's first ever twist ending.

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.

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