John Bleasdale

The thoughtfulness of Plummer's performance is not matched by a script that forgets human logic in favour of narrative tricksiness that ultimately undermines the initially intriguing premise.

The film is often remarkable, gorgeous even - many of the shots in Youth would make excellent closing shots, including the opening shot - and funny. It's a work of wonderful moments, but it's less than momentous and, significantly, you'll never believe a single word of it. This is a pity as the performances are excellent.

There are moments of real wonder and delight and Quentin Blake's original illustrations are occasionally glimpsed in the set ups. This isn't an epic of visual wizardry and there's zero irony or clever wit. Rather, Spielberg's latest is an old-fashioned children's tale told simply and with plenty of heart.

Everything looks beautiful: sand the colour of peach fluff and skies, a cyan blue.

The Seasons in Quincy is most compelling when we and it listens to Berger or captures him listening to someone else.

This is the kind of oddball midnight movie that could easily gain a cult following and there are delights to be had in the midst.

Crimes of the Future still has its strengths. Howard Shore’s score lends a tragic, almost stately emotional counterpoint to the steel of the wit.

Fans of Kawase will likely enjoy this delicate tale of people finding their way in the dark.

Eisenberg avoids, for the most part, doing a Woody Allen impersonation, but his bumbling guilelessness is wearing and Stewart seems out of place, unable to ever quite get over being Kristen Stewart in a Woody Allen movie. In fact, both young leads seem nervous to have been invited and often appear simply pleased to be there.

The humour is as gentle as the girls are and, without sharp edges, the film occasionally veers towards schmaltz, but Kore-eda's deft touch and his eye for a subtle yet precise detail keeps the world grounded and consistently interesting, funny and at times moving.

For the occasional lapse...there is often a striking image or sly moment of humour to take away and overall, the film rewards persistence.

Although not quite the bounty of its title, The Treasure rewards the patient viewer with a quietly enchanting drama.

Mia Madre is an intimate and sincerely made family portrait, which ends up betraying its own indifference to anything beyond the confines of the family.

Plá's film is a caustic, genuine swipe at a selfish and insincere society which is content to make money from the suffering of ordinary people.

The dénouement when it comes doubles down on the madness and 11 Minutes is never boring, but neither is it quite as revolutionary as it thinks it is.

As you'd expect from an actor-director of Amalric's pedigree, the performances are brilliant throughout and Mathieu himself has a wonderful eye for the telling tick and/or the revealing gesture.

As fascism in South America, North America and Europe is rising from the grave, it needs a properly-aimed and delivered stake, rather than complacent sniggering

A well-behaved and unashamedly populist film, the kind that could be shown in schools and community centres, Akin's The Cut remains an undeniably important film regardless. What it does extremely well is to movingly illustrate a terrible moment in history which has been sadly neglected in the West and actively suppressed in other parts of the world.

The first forty minutes or so are – as you would expect – a harrowing recreation of the bombing and the crime.

There's something highly familiar about the material and although it is artful and occasionally powerful, Akin and co-screenwriter Hark Bohm have constructed their story without straying far from countless other versions of the same thing.

It might be that the actor Dano baulks at taking the scissors to any of the performances of his fellow thespians, or that screenwriters Dano and Zoe Kazan are too faithful to Richard Ford’s source novel but this results in a deadening of effect that renders the melancholy monotonous.

The House By the Sea is ultimately a deeply satisfying and occasionally moving experience.

It’s difficult given the premise of the film not to come out of The Workshop thinking of alternative directions the story could have gone in.

This is a good solid three star movie. Which is perhaps where Snyder should be anyway, away from the extremes of deification and vilification. When he’s not trying to be great, he can actually be quite good.

Party Girl may tread familiar ground but Theis-Litzemburger is utterly convincing as the self-absorbed, beguilingly unaware lead.

The Measure of a Man is solid social document that offers insight into quiet lives lived by those who don't give in - despite every good reason - to desperation.

There are moments in the film that just feel wrong, sometimes complex and wrong and sometimes just plain wrong.

As Personal Shopper progresses a rather predictable series of twists almost drain the story of interest.