Anna Smith

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.

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

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

A toe-tapping triumph for dance fans, though less so for non-converts.

1D in 3D: the closest thing to a Shine A Light for Directioners.

If it's all a little too crowded with characters, Branagh’s pacy direction keeps the story zip along to a conclusion that’s tense even if you remember whodunnit.

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

"Salmon Fishing In The Yemen" and "Chocolat" man Hallström is an old pro at navigating this kind of undemandingly dramatic yarn and does a pretty fine job with Sparks' story.

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.

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

This has charm and glamour but little profundity.

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

A solid watch for gore fans.

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

Predictable and pleasant, with enjoyable performances.

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 soapy but stirring romance with two committed leads.

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.

The Wall isn’t a terrifically exciting thriller, but it’s thoughtful and fitfully suspenseful – a lean, character-driven and quietly rewarding film.

Six Feet Under scribe Jill Soloway offers a wry perspective on married life as Temple's stripper-with-a-heart is lobbed into this domestic yarn like a firecracker in an arms cache.

Seyfried is fine but has little character depth to work with: Sarsgaard impresses with a more complex character, as does a barely recognisable Sharon Stone as Linda’s bitter mother. If only the whole film were as well-rounded.