David Parkinson

Combining widescreen lyricism and neo-realist intimacy, this is a poignant reflection on the stark situation awaiting so many migrants who risk everything to reach a false paradise. The methodology occasionally feels calculating, but the intentions couldn't be more sincere, as the struggles are destined to continue once the cameras leave.

Regardless of the skittish structure and illegible subtitles, this is a valuable reflection on an incalculably influential career, which serves as a timely reminder about the pitfalls of artistic tyranny.

Baalsrud never claimed to be a hero and the emphasis of this gripping reconstruction rightly falls on the resourcefulness, courage and self-sacrifice of those who epitomised the spirit of resistance.

Chekhov is notoriously difficult to film and this adaptation boldly taps into the play's mordant wit. But the fidgety and over-emphatic visuals detract from the themes and the stellar performances.

This director's cut might smack of self-indulgence, but it also says much about love and loss and the language of an artform that flirts with realism while remaining an illusion.

It feels more like a ciné dissertation designed to showcase Zvyagintsev’s appreciation of the medium than an original piece of cinema.

A fascinating life is reduced to a series of skittishly edited and visually stylised vignettes that do scant justice to Marie Curie's scientific achievements and Karolina Gruszka's laudably intense performance.

A fascinating topic is attenuated by conservative storytelling and sketchy characterisation. Nevertheless, the sense of place is as assured as the vigilant performances, while the defusing sequences are genuinely suspenseful.

Telling an unfamiliar tale in a highly predictable manner, this is a laudable, but lightweight tribute to golf's founding fathers.

Despite a wonderfully witty voiceover and the bullish playing of a willing ensemble, this bawdy romp consistently stumbles over its more contrived excesses.

It's more than a little precious, but it's also sincere, touching and astute in its insights into social geography and human nature.

With its bestial themes, conceptual humour and cartoonish thespians, this consciously arch farce will intrigue some and infuriate others.

Unflinching in its depiction of rural reality, this may be a dour drama, but it has been made with sincerity and an exceptional sense of place.

Although replete with creepy shocks, this lacks the narrative finesse to match the committed performances and slick visuals.

Played with committed ferocity by the excellent Oh and Heche, this riotous state-of-the-nation satire may lack subtlety, but it has the courage of its socko convictions and certainly packs a punch.

The plot pieces might slot into place with a resounding clang, but what it lacks in finesse, this brutal actioner more than makes up for in bullish bravura and technical slickness.

Rising to the challenge of doing something new(ish) with an overworked sub-genre, this may not be particularly scary or funny. But it belies its modest budget to splatter to knowing effect.

Persuasively played by fine leads and a well-cast ensemble, this thoughtful treatise captures provincial life and the medical mindset with authenticity and tact.

Ruinously prioritising chic over content, this is intellectually and stylistically shallow when it should have been dynamic and compelling.

Ruinously prioritising chic over content, this is intellectually and stylistically shallow when it should have been dynamic and compelling.

A touch twee at times, but the use of classic and original animation is admirable, while Owen emerges as the king of sidekicks.

A gripping if occasionally overwrought drama radiated by a standout turn from Seydoux.

Ostensibly, a lovingly made study of homemade cooking and old-fashioned values, this beautifully played drama also contains a mordant denunciation of the lack of compassion that shapes Japanese attitudes to social stigma.

A gruelling watch and a searing indictment of America's disregard for its indigenous peoples.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

Notwithstanding the efforts of a game cast, this is a grotesque miscalculation that disrespects the memory of those who perished in one of the darkest episodes in recent history by turning it into a piece of white-knuckle entertainment.

Despite the striking photography, this fascinating denunciation of 150 years of persecution and oppression lacks Guzmán's customary trenchancy and restraint.

Although packed with compelling archive footage, this never quite gets into Joplin's head, heart or soul.

The archive footage is compelling, but the soundtrack is a muddle of voice-over, music and effects.

While strong on establishment prejudice, the coverage of clashing egos and agendas isn’t always incisive.

This spends more time on the tensions between the dominant trio than their landmark campaigning.

Despite its sketchiness, this offers a vivid insight into the rejuvenation of a decaying city through fury, activism and music.

The science is haphazard, the techniques gimmicky, but the point is cogently made.

Superb star turn from Maria Alexandra Lungi but this doesn’t grip as it might.

While beautiful, early scenes of shocking violence give way to philosophising and gauche symbolism.

More compelling when focusing on long-serving staff and their skills and opinions

Quietly compelling, but lacks finesse in its characterisation and dogged denunciation of the Ethiopian justice system

Rinko Kikuchi's superb core performance and some striking photography stand out in the latest feature from the Zellner Brothers.

Charming performances from both leads and insightful vignettes makes up for occasional clumsy writing and plot developments.

Exasperatingly trite, but also rather sweet.

A challenging and intelligent Swedish drama that still raises laughs.

A strange story that's no less disturbing for its unbalanced telling.

Farhadi’s gifted storytelling and direction is on show again in a damning look at Iranian society.

An intriguing look at a lost voice.

A sparse and languid Italian thriller that carries a debt to Melville.

Shot with grace and precision but paced with all the urgency of a Sunday afternoon stroll, Joanna Hogg's Haneke-lite study of an English middle class family is a well-crafted affair elevated by terrific moments.

A romance not nearly as seductive as its lead actress.

A road trip movie filled with simple pleasures. Ashmore does a solid job as a mariachi musician without a single grenade-launcher in his guitar case

Despite visceral moments, it often feels like an excuse to use footage that didn’t make the 2010 film.

Forte and Peake excel in a notable debut from Green that marks her out as a director to watch.

This leaden relocating of an iconic German saga to 16th-century France isn’t helped by the miscast Mads Mikkelsen’s morose display as Michael Kohlhaas.

Over-the-top but blackly funny along the way.

A fly-on-the-wall look at the band that will thrill fans but may not convert too many non-believers.

A romantic-comedy that isn't funny or romantic.

A snappy, quirky German indie that will thrill fans of early Jim Jarmusch.

A laudably even-handed examination of a highly charged subject.

A fun and frothy mock-doc with a message buried in its axle.

A largely dour romantic drama, hampered by thrusting non-actors into challenging lead roles.

If not quite on the level of Garbus's terrific Bobby Fischer documentary, this still filled with fond recollections of Mazza's life and career. Fans will relish it.

Unsurprisingly, considering the circumstances, this is less a meticulous study of photojournalist's art than an privileged and emotional look at the life of a friend and colleague.

A sometimes over-simplified but often affecting look at forbidden love.

Slightly jerry-built reconstructions detract from an intriguing film with a unique angle on the country legend.

Bold and beautiful, this is a mystery worth puzzling over.

Now practically an exile from his homeland, Kiarostami follows Certified Copy with another film-literate relationship drama with the enigmatic overtones of Hitchcock.

A timely documentary that seeks to amuse and inform as much as alarm.

Tender and touching, this gay coming-of-ages story is underpinned by a terrific, subtle turn from newcomer Florizoone.

A few plot holes hold back what is otherwise a well cast and compelling picture.

Klayman exploits the opportunity to follow a man at the eye of a cultural and political storm, although more detail on his creative process and private life would have welcome.

A mix of the fascinating and the frustrating: some of the dishes are exciting and interesting, however, 108 minutes of detail causes this documentary to fall short of its potential.

Enjoyably satirical and occasionally insightful, it's betrayed by some lazy stereotyping.

As Cunningham goes about his work chronicling changes in fashion and the city he loves, a portrait emerges of a man deserving of ever bit of the respect and esteem in which he's held. There's few sharp edges or dirt digging, but it's no less engaging for that.

A quirky road-trip movie with things to say. A return to form for Depardieu too.

Veers too close to hagiography, although it's visually arresting enough to carry you through sagging in the narrative.

Occasionally lacking in context but never less than intriguing, Jarreth Merz's polished film is a handy document to a rarely visited democracy.

Charming but uneven, director Améris's film doesn't know whether to make us laugh or cry, and ends up doing neither. Still, a smart script offers plenty to keep incurable romantics happy.

Ironically, it lacks journalistic rigour but it's a fond, nostalgic look at the gilded history of the Grey Lady.

A subtle and sensual character study.

Some acute performances do justice to the novel in a quirky adaptation of the novel. Balasko steals the show as the prickly concierge with the warmer side.

An intriguing and compelling documentary that provides insight into Kiefer's artwork.

A slick, enthralling look at the life of Vallanzasca but fails to truly get under his skin.

This grungy anti-musical will offend just about everyone with its attitude towards women, gays, kids, and the elderly.

Laurent's brushstrokes always feel a little too broad to capture the finer details of the legendary New Wavers, but some fascinating archive footage saves his documentary from missing the mark altogether.

A gently moving film that's always thought-provoking if at times a little slow going.

Even if Rupert Murray's film does turn out to be a hoax, there's no denying the ingenuity involved in its making.

Once the political correctness is side-stepped, this contains classic chemistry from its two leads.

Audacious, yet sensitive, Fire may shock traditionalists but is the sort of film that ought to win Indian cinema a whole new audience.

Hitchcock's penultimate film deals with many of his previous themes with typical grim comedy and insight into a psychopathic killer's mind.

Tautly scripted by director Per Fly and bullishly played, this is soap for the ciné-sophisticate.

For all its self-conscious pizzazz, this is irresistibly entertaining.

A positive and personal look at the Israel/ Palestine divide through the quest of one woman to maintain her own property.

1954 musical that is woefully miscast in places and extremely dubious in its portrayal of African-Americans but does boast an on-form Dorothy Dandridge.

A simple, elemental tale that makes breaking the heart seem like the easiest and most natural thing a filmmaker can do to his audience. Which, of course, it isn't.

Interesting misfires from Wong Kar-wai and Steven Soderbergh barely manage to atone for the seedy muddle concocted by eightysomething Michelangelo Antonioni, who mocks his own reputation for existential ellipsis with his voyeuristic vignette.

Not one of Hitchcock's best, but with a few creative sequences and some sharp writing from Dorothy Parker.

There are some poignant moments, but Steven's decision to shoot a claustrophobic movie in CinemaScope and the stage-bound feel of the whole enterprise never bring the action to life.

You'll be left as much in the dark as the director about the personality traits that inspired the loyalty of three strong, intelligent women towards this self-centred, physically-resistible enigma.

The first Fred and Ginger feature is a little clunky and short on plot and character but a beautiful and atmospheric treat for all that.