Cath Clarke

In Camera is the kind of ambitious intelligent cinema that invites your most mulled-over theories. It will exasperate some; others will be engrossed by an intriguing movie.

The film is essentially a legal procedural: solid, mostly entertaining and occasionally gripping.

The whole thing looks as if it was dreamed up under the influence of a quality batch of LSD. I laughed out loud at the hokiest bits. But I’ve got to admit I was sucked in and genuinely scared, too.

The film isn’t perfect. It’s slightly too long and drifts a bit in the middle. But the final showdown left me in a cold sweat.

Nine years in the making, this impressive doc pieces together the story of the biggest global protest in history.

[An] informative documentary.

While, yes, TCWSSF is a dreamy magical realist fable with an environmental message, Alegría weaves into her tale an emotionally satisfying, gripping family drama, with singing cows – and fish too.

This is a gentle-going watch, understated – underpowered even – and sometimes a little drowsy. Still, it has real sensitivity and insight into the transition to adulthood, as gradually it dawns on Nang that his parents don’t have all the answers.

It’s a film that may be a bit sugary for some tastes, but it’s made with real care and craft.

Into the Woods starts better than it finishes but it’s a great-looking film, with a nicely old-school, easy-on-the-CG feel.

Doctor Zhivago has the most irritating soundtrack in the history of cinema and yes, it’s old-fashioned and sappy. But it’s impossible not to swoon. This is a love story to sink your teeth into.

The upside to casting Bea in a comedy is that she’s an absolute hoot. When Hollywood stars play ordinary civilians, there’s often a slumming-it quality to their performances, but Bea is funny and real, sarky and very likable as Gemma, who’s feeling guilty after Nathan dies.

The script, inspired by Chomko’s grandparents’ marriage, throws up plenty of authentic-looking observations of life with Alzheimer’s.

The question of whether this is a ghost story or if Laura is experiencing a kind of psychological breakdown twists and turns in ways that lost me by the end. Still, it’s is a very accomplished debut from Gregg, and acted with subtlety and sensitivity by Riseborough.

Bell is so goofy and likeable I found myself willing the film to keep up with her. But the funny bits are never quite funny enough, and the script loses feminist points bigtime for its sour bitch ex-wife character.

Without a doubt this is easy entertainment, never dull, and it has some shrewd things to say about class and money – though the satire might have been sharper and the running time shorter by a good 20 minutes.

It’s perhaps less fun than you might have hoped for, though Shatner is undoubtedly charismatic, and a pretty decent raconteur. He’s often entertaining, if not always necessarily in the way he intended.

McKellen occasionally slips into the part of twinkly super-cool gay uncle that he tends to play in interviews these days. But mostly he’s thoughtful and self-reflective (and not at all gossipy about his theatrical chums, disappointingly).

It is solid and watchable, and Radcliffe is genuinely ace, giving a smart, understated and intelligent performance.

The more the movie explains, the less powerful it becomes – ending with a Shining-like finale in the snow that for me was a letdown.

But the storytelling is unevolved compared with the animation.

It’s a broad, enjoyable, lighthearted movie with a fair few not-insignificant plot holes, but a genuinely surprising storyline that keeps you guessing to the end.

I can’t help thinking Gillan’s superpower as a writer and performer might actually be comedy. Still, always a compelling screen presence, she’s now a film-maker to watch.

Miraculously this film is never silly. The recreation of stone age life feels unexpectedly convincing – partly I suspect, because of the sensible decision to have the actors speak a made-up stone age language instead of English (bolted together, apparently, from bits of Arabic, Basque and Sanskrit).

Makhmalbaf says he was inspired by the Arab Spring, and his film is pitched somewhere between allegory and satire.

This is a film raised a fair few notches by the wonder of geekery, the absolute joy of seeing scientists living and breathing their work.

Like Restrepo, this troubling and thoughtful documentary asks tough questions.

This is muscular stuff, with a firm grip on your attention.