Anna Smith

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.