Oliver Lyttelton

Lafleur maintains a bouncy, consistently funny tone that you'd describe as featherlight, were there not real weight grounding it all. It's a near-miraculous trick, and evidence of the immense talent on display here: he has a real talent for making comedy work visually, and as you might expect from a former editor, a sense not just for landing a joke, but for creating a unique and distinctive rhythm.

An exciting, splattery, funny genre movie that somehow never once feels disposable.

Burshtein has devoted most of the last 20 years teaching and making film in that world, but here makes her international feature debut with a curious comedy-drama that has its strengths, but ultimately proves somewhat disappointing.

The picture is a triumph: it's arguably Garland’s tightest and most fascinating screenplay to date, brought to life with meticulous filmmaking and sensational performances. It's the first great film of 2015.

The film’s undoubtedly a gorgeous look at the Australian outback, but those looking for deeper nourishment will be left a touch disappointed.

Paddington is totally delightful.

It's crisply and cleanly shot throughout, and the filmmaker shows a rare feel for how to not only make comedy land, but also to make it actually feel cinematic too.

Rarely competent, unintentionally hilarious and borderline reprehensible in both its politics and its take on gender roles.

It's certainly a crowd-pleaser...and something close to a triumph, if not an unqualified one.

After meandering for a while, the story kicks into gear in the third act, with a couple of legitimately shocking and well-executed developments that do pack a punch missing elsewhere in the film.

This really is Audiard operating at the top of his game, mostly dropping the contrivances of "Rust & Bone" for incisive character studies and a deeply humane, almost warm, worldview.

Never, for one second, is Vikander anything less than entirely truthful.

There’s so much to like about the film, and it’s a mark of Assayas’ skill that it's a hugely engaging watch despite the blankness of the characters.

Gunn’s careful to keep the focus on the central five, but certainly proves himself capable of the bigger canvas. The film really pops visually, with an admirably bright color palette (DP Ben Davis doing excellent work), and though there are occasionally some geography issues, the action is mostly satisfying.

Most importantly of all: it’s funny. Really, really funny, consistently and constantly.

It’s a strong and eye-catching debut, but one that doesn’t quite mark its ground as the next big thing in Israeli cinema.

Though there's an admirable sense of messiness to the scenes of family life, the screenplay itself is rather neat: one has a fairly solid sense of how things are going to play out from the early stages, and for the most part that's how it goes, ticking off a checklist of rather familiar beats along the way.

It’s not a terrible time at the movies, but after Coogan & Pope’s previous collaboration on “Philomena” proved to be such a genuinely satisfying example of this kind of drama, it’s hard not to feel like there’s something of a missed opportunity here, a film truly deserving of the excellent performances at its centre.

A film that is enjoyable in spots, but haphazard and ultimately unsatisfying.

Godard's full length take on 3D is bold, brilliant and exactly what the format needed — a iconoclast taking it and making his own, and almost every time he frames a shot in three dimensions, from opening credits to the final moments, there's something attention-grabbing going on.

Eisenberg does an enormous amount with what he has, proving to be sinister and vulnerable virtually within the same breath, and expertly putting across the torment he’s going through.

Avranas makes a claim to be considered among the top ranks of international filmmakers.

It’s the pair’s bond that helps to make the film more interesting than just a study of wealthy murderousness (though it’s great at that too). It’s also a portrait of female friendship that, despite the dark places it goes to, proves to be oddly touching.

Lord knows the superhero genre could use some fun poked at it and we were psyched to see the film, but while there’s some fun to be had, it can’t help but feel like a missed opportunity.

For all its flaws, the film offers as compelling and fair a summary of the case and the man for those less well-versed in the tale as you could ask for from a documentary.

It’s a cast full of the sort of faces that regularly pop up on ones-to-watch lists, and it’s the biggest thing that Been So Long has going for it. “Chewing Gum” fans will know how talented Coel is, but she’s particularly good here with a role that’s more adult and serious than her breakout turn (while still letting her have some fun occasionally).

It’s not exactly doing anything new, but it’s a muscular and textured piece of work that shifts assuredly through tones and genre, features a rich and rewarding performance from Cage, and another excellent turn from his young co-star Tye Sheridan.

Queen & Country is hardly reinventing the wheel, but it's charming, evocative and (mostly) well-performed, and were Boorman to continue with his autobiographical cycle, we'd certainly welcome further installments.