Neil Young

Mark Gill's feature debut England Is Mine struggles to evoke the atmosphere of its setting — Manchester, 1976-1982 — and to bring its tantalizingly enigmatic subject into satisfying focus.

What should be a clammy exercise in claustrophobic, queasy tension becomes, in the hands of writer/director James DeMonaco, an underpowered compendium of over-familiar scare tactics and sledgehammer-subtle social satire.

While this heartfelt, rough-edged tribute to now largely-forgotten Hollywood actor Sal Mineo isn’t without interest, it’s too small-scale and sketchy.

The general air of slipshod incompetence thus torpedoes the intriguing concepts underlying Lewis's screenplay.

Making potent use of spectacularly extraterrestrial locations in the country's sunbaked far north around the ghost town of Dallol, the film takes an exotic and sometimes surreal approach to what's essentially a simple, touching love story.

Sometimes all a documentary needs is one strong, charismatic personality to keep things watchable: Garnet's Gold boasts two in the form of the middle-aged eponymous protagonist and his feisty octogenarian mother.

A very loose and extremely limp adaptation of Don DeLillo's 2001 novella The Body Artist, it palpably aspires to be a classily highbrow kind of romantic ghost story with psychological thriller undertones, but falls laughably short of its goals.

A Woman Captured is more than promising as a debut, achieving a specially intense intimacy with its subject that pays unquestionable and welcome real-life dividends for all concerned

Of obvious interest to arthouse audiences in Cullen, Wright and Jensen's native Australia, this ambitious and stimulating glimpse into the dark abyss of creativity deserves widespread international exposure at festivals and via receptive theatrical settings.

A work of admirable journalistic seriousness.

A pleasant, if in the end slightly inconsequential picture, perhaps primarily of interest to those currently experiencing Mullins-style sibling frictions and joys, those who have fresh memories of the same and ethnographers/anthropologists keen to see how some of the world's most economically fortunate minors currently make the ever-rocky transition from youth to adulthood.

Properly analyzing what made "Boro" tick, and explaining how one of most acclaimed directors of his generation ended up fizzling out so messily in the 1980s, ultimately proves beyond Mikurda and collaborators.

It's an unassuming and delicate work which demands but ultimately repays close attention.

A pleasant and sometimes stimulating viewing experience.

Matter Out Of Place is a typically sober, observational and engrossing work of ecological-anthropological documentary from Austrian maestro Nikolaus Geyrhalter.

Using simple means, Kang and his team take banal situations and settings — much of the action unfolds in a city-centre apartment building — and render them just eerie enough to be unsettling.

It’s an offbeat combination of erudite esoterica and sensory pleasures (many of them music-related) that patient viewers may find beguiling.

The result is an engrossing exercise in empathetic humanism, unhurried and uninflected; the various sections of the film are divided by ruminative fades to black.