Matthew Anderson

The Violators bravely paints a vicious circle without pulling any punches and shows real promise in a new female British filmmaker.

Riccobono neither condemns nor sympathises, maintaining a commendable neutrality, as his subjects frank testimony paves the way to jail cells.

Russell is the magnetic epicentre of a much broader contemplation on the nature of being, creation and self-truth at a time of peace and love.

The pacing is methodical but breakthroughs in the case and anxious moments where all is feared lost generate real tension.

Set in early 1970s Chile, and prefaced with archival footage of the final days of Salvador Allende's presidency, The Colony paddles indecisively in the unspeakable ills of the Pinochet era without ever really taking the plunge.

Finding Dory is as entertaining, soul enriching and bittersweet as any Pixar production to date.

Directed by Jon Cassar, Forsaken is a humdrum Western which never demonstrates even the suggestion of a trick up its sleeve.

Structured in a series of chapters, there is an element of picturebook, even fairytale, enchantment to Hunt for the Wilderpeople. It is easy to be swept up in the adventure of it all, and the comedy and light-heartedness make it eminently watchable but as one narrow escape leads to another, and another, things start to feel a little thin.

Sachs' extraordinarily humane knack for emotional restraint echoes throughout Little Men. And it is all the more profound for it.

It is a kooky, touching, continually droll comedy drama that treads simultaneously familiar and unusual ground in its exploration of grieving for a sibling, more specifically a twin.

Thompson's strikingly assured and unflinching debut pumps new life into a well-trodden genre.

Alice Through The Looking Glass is at its middling best when Wasikowska is at the reins.

The Nice Guys could well mark the beginning of a beautiful friendship. Black has really thrown the kitchen sink at his latest project and it all works tremendously. Let's hope there's more to come.

It is the masterful ways in which Altman weaves doubt, hard truths, and holds up a mirror to the hypocrisies of contemporary America, that elevates his 1975 film to be one of the decade’s greatest cinematic achievements.

As though North by Northwest boasts some of Hitchcock’s most ambitious and memorable set pieces it is also one his most terrifically funny, playful moving pictures, cutting just the right line between suspense and belly laughs.

Sid and Nancy rages with a vitriolic fury which eventually becomes tiresome.