David Parkinson

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

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.

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

Assayas' attempt to present a multi-perspective Polaroid view of Adrien and his circle fall back on the tired technique of abruptly punctuating grainy, handheld sequence with jump cuts. A disappointingly sterotypical French film.

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.

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

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.

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

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.

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.

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

Despite the nobility of its intentions and commitment of its cast, this would-be treatise on gig economical iniquity winds up patronising the very ‘invisible people' it's supposed to be championing.

If it weren’'t for Lost Horizon, this would have gone down in history as the Worst Musical of 1973.

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

Funny in places but not Allen's best writing...and its difficult to get beyond the conceit.