Anna Smith

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.

This family endeavour is an acting masterclass, and we should be grateful that it’s lured Daniel Day-Lewis back into acting after eight years in the metaphorical woods.

The Roses gets off to an enjoyable start, but like the marriage at its centre, the novelty wears off.

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.

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

Sorrentino is clearly trying to move with the times – even if he’s still most comfortable in the decades he’s depicting here on screen.

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

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.

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

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.

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

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.

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

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

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.

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

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.

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.

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

Reminiscence has imagination to spare, but it doesn’t deliver the precious memories it promises.

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.

The kids and Caine are good, but this lacks the magic of its source novel(s). Younger children may enjoy it, but its attempts to entertain older viewers mostly fall flat.

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

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.

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.

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.

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.

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.

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

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.

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

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.

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

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.

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.

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.

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.

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

Macdonald, playing an outsider with wisdom, is by far the most sympathetic character; the movie has plenty to say about the parenting traditions of the wealthy, not much of it favorable.

It’s slightly frustrating that Winslet’s character Alex is nearly always the one who needs looking after, but the chemistry between them is good, the suspense sufficient and the ending gives you a gentle tug on the heartstrings.

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).

There’s plenty of action—and laughs here and there—but when a repeated cameo from Elton John is the best thing in a movie like this, you know you’re in trouble.

This gets an extra point for an exciting action finale, but loses several for a hero who may try your patience well before then.

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.

Home Again is too superficial to maintain tension as a character-driven drama, and not funny enough to overcome an aimless plot and confused tone.

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.

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

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

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.

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.

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

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

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.

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

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

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 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.

Heather Graham and Maika Monroe add heat to this handsome, slow-burning thriller that lacks the urgency of Bahrani’s previous effort, "99 Homes."

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

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

There’s too much going on and too little character development for this to become a Christmas classic.

It’s still a giggle, largely thanks to Tilly’s cantankerous mother (Judy Davis) and the camp local cop (Hugo Weaving).

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

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

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

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

A soapy but stirring romance with two committed leads.

The London scenes are fine but the guys seem far too relaxed in Miami considering death is looming. And we’re given no reason to root for them other than that they’re young and good-looking.

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

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.

No surprises here, nor many laughs, though the romance has a simple, sentimental appeal.

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

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.

Sensitive performances from a willing cast bring Zola's novel to life on the big screen.

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.

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

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.

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 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.

Story aside, this is about the gags, songs and then more gags. On the upside, the jokes are great: the usual jolly mix of character humour, situation comedy, farce, satire and wordplay.

After a creaky, clichéd start, Need for Speed picks up a bit. The script is still as corny as hell, but the chase scenes are pretty spectacular.

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

It’s predictable and troubled by continuity errors, but as undemanding romantic comedies go, it’s a pleasant enough watch with a heartfelt script from debut writer-director Tom Gormican.

While it’s as tacky and obvious as Sin City itself, this comedy is watchable thanks to a lively pace and spirited turns from Kline and Steenburgen. An unabashed old-timers’ fantasy.

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.

Kids should be game for the ride, and the colourful characters offer humour and poignancy: Paul Giamatti’s cautious snail Chet shares a sweet friendship with reckless Turbo. Comparisons with Pixar’s ‘Cars’ are easy to make, but that’s no bad thing.

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

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

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

A solid watch for gore fans.

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

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.

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

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

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

"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.

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.

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

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

Lightly humorous, well performed and not nearly as smutty as you might imagine. The earth may not move, but there are tingles of pleasure along the way.

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

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.

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.

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

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

As awkward as McGregor's geeky hero and almost as confused as the titular plan, Salmon Fishing is still very likable if you're prepared to take the bait. And it might even be Scott Thomas' funniest turn since "Four Weddings And A Funeral."

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

A tender, sensitive French drama rich in hazy atmosphere.

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.

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.

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.

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."

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 tough but very rewarding watch.

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.

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

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.

Charming slice of small-town France.

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

Whoever demanded a third installment of Lawrence's mirthless mash-up of weak gags and cross-dressing horrors should be imprisoned and forced to watch it on repeat until they repent. Avoid.

A low-grade comedy that'll have Jonathan Swift turning in his grave.

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

Light and entertaining, if a little clunky at times.

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.

Inventive and endearing in places but ultimately an unsatisfying mix of slow plotting and superficial characterisation.

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.

Fails on both an emotional and comedic level.

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

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.

Amused, maybe - but you won't be seduced.

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.

Despite the talent on show, there's little to distinguish this from any other bland family comedy.

Money can buy you happiness in this inferior remake - although its makeover storyline may please fans of "The Princess Diaries" et al.

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

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.

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

Poor script, poor direction and poor performances mean a dismal 70's disaster movie is the result.

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

Attempting to encompass too many genres dulls the overall effect but this still commands a certain fascination.

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

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

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

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

There's a good film in here somewhere, but it's buried under a messy structure and unclear direction.

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

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

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

A strong opening, bursting with wit and vigour, gives way to a predictable, patronising and immensely lazy second half. Could have been so much more.

Lazy but functional tween fare.

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

The highschool hijinks may entertain the young, but those more familiar with the Bard will recognise this as a wasted opportunity.

Rubbish. Irish eyes will be hard pressed to grimace, let alone smile.

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

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.

It means well, but it's all just a bit too tired a formula - even by the standards of a kids film. Put this one in the top field to 'rest'.

A lowest common denominator spoof.

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

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

This is one expensive folly.

Fun musical numbers and cartoonish humour give way to a bland sermon about the evils of the music industry.

This has charm and glamour but little profundity.

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.

From chases on boats to bust-ups on buses, the action and locations are fitfully engaging, but the story feels cobbled together and the dialogue is often painful.

Both the well-choreographed crash scenes and the gritty cinematography hint at a better film. Shame no-one took the time to make it.

Sporadically amusing but rarely inspired.

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

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.

Bland, but wholesome.

Surprisingly watchable despite the formulaic teen format.

This has the power to unite a female audience ready and willing to overlook its supposed weaknesses.

Falls between romance and drama without really satisfying either.

Likeable stuff despite being slow paced and rather sentimental.

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

Occasional funny moments but this is very very thin.

A load of formulaic nonsense that should still turn a few young heads thanks to its fantasy plot and Jesse Metcalfe's chest

Music And Lyrics never really finds its tone. Fans of Barrymore and Grant are likely to enjoy their pleasing ramblings, and the modern-day, down-to-earth courtship is handled well. But this is unlikely to go down as either actor’s finest hour.

An amusing watch, this has a freshness and naturalism rarely found in the typically over-styled French romcom genre.

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.

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

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

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

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

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

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

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.

Not quite as nauseous as its plot might suggest, Little Manhattan is sassy as well as sweet.